Ascher discusses what he learned most from The Shining fans profiled in Room 237 and his own love of Kubrick.
Sachs, a longtime resident of the Big Apple, dreams of creating a queer-arts renaissance in his adopted city.
Trite, silly, and grating are all apt words to describe the cinematic buffoonery of Bran Nue Dae.
The film half-heartedly plods along in its final half to an irrelevant conclusion.
Michôd sat down with Slant to discuss the infamy encapsulating the Melbourne crime circuit and premiering his first feature film at Sundance.
It tonally aims for, and somewhat achieves, a lurid mix between a juicy morality tale and Boogie Nights’s fetish for nostalgia.
The Parking Lot Movie uniformly lacks excitement, cycling back to the same terrain.
Elizabeth Allen’s Ramona and Beezus strives to reach all audiences at once.
Frank V. Ross’s film is a love story in the most sincerest of terms.
The unforgiveable flaw of Ananth Narayan Mahadevan’s film is its lack of subtlety.
Raavan is truly stuck between two styles of over-the-top, populace filmmaking.
Margherita Buy gives Francesca Comencini’s film its beating yet sunken heart.
Ten Winters captures a beautifully painful, reflective push and pull between two souls.
Raajneeti plucks scenarios and characters right out of the The Godfather films.
Gabriele Salvatores’s film lacks complexity and any real sense for reality.
The film doesn’t exactly unearth any new idea or notion about the Rwanda genocide, but it still serves as a well-researched, educational guide.
The film is a quaint but inane portrait of a modern-day Big Apple family.
The film suggests a condensed version of Michael Apted’s Up series.
The Disappearance of Alice Creed initially coasts on its intriguing setup but quickly unravels in the second half.
Party Down is a hilarious tribute to the broken-down yet ever-striving characters that sit on the Hollywood sidelines.