Bruce says: “Ming-liang Tsai’s films are somewhat of an acquired taste, a delicious long-lasting taste once one gets in tune with his style. Not many directors go out of their way to capture the aesthetic of a deserted hallway or
Michael says: “I am filled with Mothra love! While not quite as strong as the epic GODZILLA, MOTHRA, KING GHIDORAH: ALL-OUT GIANT MONSTER ATTACK!, this penultimate entry into the Godzilla cannon is fun (it even includes the Mothra fairies again,
Bruce says: “In 1997, Elizabeth Wurtzel grabbed the country’s attention by declaring we were a Prozac Nation. Prozac is just one of many drugs generously distributed by doctors to fight depression. In GARDEN STATE, Andrew Largeman (Zach Braff), now 26,
Hilary says: “The film is adapted from the novel by Tracy Chevalier, which creates a backstory for the Vermeer painting, ‘Girl With a Pearl Earring.’ As with most book-to-film adaptation, the timeline is condensed and little of the heroine’s, Griet
Bruce says: “Each year the Toronto International Film Festival has a program which highlights films from a single country – this year that country was South Africa, chosen to celebrate the tenth anniversary of democracy and the end of apartheid.
Bob says: “Errol Morris gets up-close-and-personal (in more ways than one) with Robert McNamara. Even if the former Secretary of Defense did not deliver some of the most profound, thought-provoking statements ever uttered here, the film would still be a fascinating
Bruce says: “THE FIVE OBSTRUCTIONS is not the film it was purported to be nor was it at all what I had anticipated. The film is billed as a ‘battle of the minds’ between Lars von Trier and Jørgen Leth,
Michael says: “Filmed over four years in Columbus, Ohio, FLAG WARS presents a disturbing look at gentrification and class structure in our country. Linda Goode Bryant and Laura Poitras are both first-time directors, and they present the many views clearly
Michael says: “You can feel the Miramax hand on Marc Foster’s FINDING NEVERLAND, which is a shame, although doesn’t disrupt the film all that much. One suspects that it would have had a lot of the same sentimental elements because
Bruce says: “FATHER AND SON opens with a close-up of two men, one holding the other. There are no immediate clues but as the scene unfolds we learn that it is a father and his son, who is having a