Michael says: “I caught this back in December but never got around to reviewing it. I have to tell you I was giddy for hours… even days after seeing Paul Thomas Anderson’s decidedly bizarre adaptation of Upton Sinclair’s novel, Oil.
Bruce says: “Billed as a rap musical TERANGA BLUES does indeed feature a character who is a rap singer recently deported from France and forced to return to Senegal with only 20 Euros to his name; however, Madiké (Lord Alajiman)
Michael says: “I had been looking forward to THE TEN, David Wain’s follow-up to WET HOT AMERICAN SUMMER, since I read about Winona Ryder playing a woman how has a relationship with a stolen ventriloquist’s dummy. THE TEN is an
Jay says: “The decaying city is a staple of anime and science fiction (though TEKKON KINKREET doesn’t really fit that genre). It appears in many conventional urban genres, too, but they seldom have the ability to really show the audience
Michael says: “This buried treasure nominee is a visual feast, part Romeo & Juliet, part cowboy cum gangster flick, part wacky farce. Dum and Rampoey are have been in love since they first met as children, but different social classes
Jay says: “TEAM EVEREST means to inspire you. It exists for that. Even if Andy Cockrum hadn’t been along to make a movie, the expedition it chronicles was still put together in order to inspire disabled people, by showing that
Bruce says: “When Roger Ebert named Kasi Lemmons’ EVE’S BAYOU his film of the year for 1997, I was totally perplexed. Thick with plot, the film never delved very deep into its characters. They spoke volumes and lots happened; but
Bruce says: “György Pálfi’s HUKKLE remains one of the most off-the-wall films I have ever seen; needless to say I was excited that he had a new film at Tribeca. In ways TAXIDERMIA is every bit as interesting in concept;
Michael says: “After leaving the theatre, Jeff asked me if I liked science fiction movies. I told him that I liked reading science fiction, but that there were very few good science fiction movies. Unfortunately, SUNSHINE does not buck this
Michael says: “SUNFLOWER is Chinese director Zhang Yang’s autobiographical look at the relationship between a father and son across three turbulent decades in China. Xiangyang is born in 1967 during the Cultural Revolution. As an infant, his father, Gengnian, is