Reviews
Resembling nothing so much as an unholy mindmeld between Judd Apatow and the New York Times’ Jennifer 8. Lee, I Love You, Man would be a disappointment but for the low standards that mainstream Hollywood comedy has beaten into us.
In a word: “sure.” Watchmen may be a failed adaptation of a difficult text, but it isn’t a debacle like 300. Its mixed critical and commercial reception means that, unlike The Dark Knight, it isn’t begging to be brought down a peg.
New in Town evinces no awareness of its potential relevance; the writers could have inserted a sports facility, hospital, college, or a desert island in place of the factory.
At the end of Sunshine Cleaning, after all of the brain and blood has been wiped up, the reasons for the heroines' neuroses elucidated, and their futures left open-ended, Norman Greenbaum's “Spirit in the Sky” takes us to the credits.
His depiction of the strike identifies with Loyalist and British views by strongly affecting viewers’ emotions without allowing for any political dialogue.
Lying closer to the surface of more generically situated works like Cure, Pulse, and Doppelganger, is the beating heart of a true melodramatist.
Tasking a handful of name auteurs (and occasionally some less familiar directors) with contributing short films to a portmanteau or omnibus film rarely results in a satisfying experience, more of a light buffet than a multicourse meal.
It’s a wonder that Aldrich acted so surprised when Sister George’s lengthy, Sapphic love scene infamously made it the first major American film to be given an X rating.
I’ve seen three Brisseau films now and I’m still not convinced that his work reveals much more than a desire to provoke melded to a kinda-brave, kinda-foolish willingness to expose and exalt his own fetishes.
British filmmaker Duane Hopkins studied as both a photographer and painter, and this becomes abundantly clear upon viewing his elusive and evocative debut feature, Better Things.
Adorned in oranges, purples, and golds, and unfolding on shimmering soundstages flanked by scrims and screens of varying sizes, Fados creates a universe unto itself, an enclosed festival space meant to stand in for an entire world of song.
Immigration policy, ever a divisive issue, went almost completely undiscussed in our recent election, so we should be thankful that Wayne Kramer, creator of such socially conscious fare as The Cooler and Running Scared, decided to bring his prodigious talents to bear on this national blight.