Jason says: “THE GIRL ON THE TRAIN is based upon an incident that drew a fair amount of attention in its native France, but makes an unusual choice or two in telling the story. Director André Téchiné and co-writer Jean-Marie
Thom says: “Charming Mads Mikkelsen was present for the Q&A after the viewing and he regaled us with stories about how hard it was to work with director Refn. This existential, religious, even metaphysical film is about a group of
Jason says: “I’m often not quite sure where I land on movies like TINY FURNITURE. They spend a lot of their time annoying me, quite honestly, with their characters’ awkward quirks and selfishness, and I’m never quite able to figure
Jason says: “I take note of odd credits when watching movies, and maybe any (hypothetical) readers from Denmark could fill me in on a couple from the end of TERRIBLY HAPPY: Is it common for Danish films to credit the
Jason says: “The hackneyed phrase that is often used to describe this movie is ‘a Serbian AMELIE,’ which I think does it a disservice because, well, I didn’t like AMELIE much at all. Gilliam might be a better comparison; after
Jason says: “As THE TEMPEST opens in cinemas after a certain amount of delay (the Walt Disney Company spent much of the past year or so trying to figure out what to do with Miramax Pictures, holding it in limbo),
Jason says: “So, if you’re making a movie about the birth of Muslim punk rock, who do you put at the center? Even if you know the players, that might not be as obvious as it seems: The word ‘taqwacore’
Jason says: “TAMARA DREWE is an odd film, able to defy expectations even if all the audience knows going into it is its name. After all, one would expect this movie to be a showcase for Gemma Arterton as the
Michael says: “After her triumphant first feature, RED ROAD, which won lead actress Kate Dickie a Chlotrudis Best Actress Award, writer/director Andrea Arnold returns with another powerful drama about a young woman’s desire this time in blue-collar Britain. Mia doesn’t
Jeff says: “If you’re going to make a terrific cinematic work of cultural anthropology, you have to slow it way, way down, give the viewer lots of long, long, often static shots that convey the feel and the rhythms of