Michael says: “This heart-rending film looks at a Vietnamese-American girl, taken from her mother at the age of 7 and air-lifted to the United States near the end of the VietNam War. She is adopted by a single woman in
Michael says: “Whoo Boy! I haven’t seen a movie that I’ve disliked this much in quite a while. “Set presumably in the 70’s, 4 boys in Catholic school misbehave, pay the consequences and grow up a little. Despite a host
Laura says: “Were it not for MacDowell’s honest performance, the genuine heat between her and Doughty, and an imaginative use of musical themes, CRUSH would be pure Lifetime television fare. While jealousy among female friends is a true enough phenomenon,
Bob G. says: “Jeremy Renner takes an almost impossible task — demythologizing serial cannibal Jeffrey Dahmer — and hits it out of the park. He has Dahmer’s blandness, which was his key to remaining undetected for so long, down pat.
Laura says: “Or should that title be the crimes of Father Amaro? Carlos Carrera’s pot boiler, adapted from an 1875 novel by screenwriter Vicente Lenero, is long on licentiousness and short on subtlety. While the grey shadings of Benito’s character
Janet says: “THE BUENA VISTA SOCIAL CLUB with snow. This documentary about a men’s choir in the small fishing village of Belgevad, Norway, starts out seeming like it will be short, skimpy, funny, then goes much deeper than you’d ever
Hilary says: “Roman Coppola officially joins the family business with his directorial debut, CQ. For anyone out there who loves BARBARELLA (and I know there’s at least one other person among the membership that will admit this) it’s a must-see.
Hilary says: “I think Steven Soderbergh should be quite flattered: George Clooneys directorial debut, CONFESSIONS OF A DANGEROUS MIND, is a tribute to his work. Clearly the films they’ve done together have had a great influence on Clooney. Stylistically, the
Clinton says: “This thoroughly charming and visually exciting documentary follows the hippie drag troupe who started a legendary anarchist gender-ambiguous theatre movement in late 60’s San Francisco. The Cockettes, a more ribald and daring kick-line than their New York namesakes,
Laura says: “In Paris, Napoleon mostly waits for the unveiling of the imposter in order to make his move. The film rouses itself when Napoleon turns around Pumpkin’s (Iben Hjeile, HIGH FIDELITY) fruit business with military strategy, but little else