Diane says: “Marilyn Agrelo’s MAD HOT BALLROOM is another in the growing field of docu’s following a competition. Here, New York fifth-graders vie in ballroom dancing. Agrelo’s attempts to delve into the home lives and views of her subjects ends
Barbara says: “I know Scarlett Johansson is a favorite of a lot of members and she does not disappoint in this film. I think she and John Travolta have two of the most expressive sets of eyes in film. The
Michael says: “Agnès Jaoui is a talented actress. She is also a talented director and screenwriter! LOOK AT ME is the sixth film she has co-written with her husband Jean-Pierre Bacri (who also stars in LOOK AT ME) and the
Chris says: “Home to Hollywood, sprawling metropolis Los Angeles is the most photographed city in the world. Thom Andersen’s equally sprawling, ambitious documentary uses this little factoid as a jumping off point to explore not only how filmmakers have portrayed
Michael says: “Tim Kirkman’s LOGGERHEADS is a moving examination of adoption, religious tolerance, and sexuality. While at times it plays a little like a Lifetime TV movie of the week, strong performances and complex time shifts bring it above the
Bruce says: “What worked so well in Gus Van Sant’s ELEPHANT – the revisiting of scenes and events until the viewer had total familiarity with the film’s terrain and understanding of the motivation of the main characters – does not
Bruce says: “LADIES IN LAVENDER is the story of two elderly ladies living on the coast of Cornwall. Ursula (Judi Dench) is a spinster and Janet (Maggie Smith) is a widow. One day a body, barely alive, washes up on
Hilary says: “A kung fu comedy incorporating aspects of classic Hollywood cinema, Westerns, Looney Tunes, and a hint of musicals; no great need for a plot summary here. In short, the residents of Pig Style Alley rise up and fight
Chris says: “Even though it seems like a fairly conventional dialog-rich character study on the surface, this is really a strange, complex little film, if subtly so. It tells parallel stories of two ex-lovers: Nora (Emanuelle Devos) and Ismael (Mathieu
Bruce says: “This is the second Hungarian film I have seen recently that shows great promise for its director. First there was the delightfully enigmatic HUKKLE directed by György Pálfi and now there is KONTROLL, a dark, comedic allegory, directed