Americatown sees romance and whimsy in every corner of American history.
The film fully believes in the humanity and good will of its subjects, and doesn’t mind taking a biased point of view to prove their vision is just.
The film works as a revealing story of redemption for a “super villain” that can’t help but be a great father.
Rent it and revel in the mash up of competing genres and themes so unique to the Hollywood landscape.
The resulting auteurist splatter both fascinates from a thematic standpoint and frustrates from a narrative one.
It’s a western with a depth of character and conflict that resonates beyond genre and into layered examinations of historiography.
Directionality and movement are more important to Hong Kong action auteur Johnnie To than any other director working today.
The film’s almost manic dependence on story twists pushes the obsessive-compulsive contortions of character and plot to a whole new level.
Silvio Soldini’s meticulously paced Come Undone is about the fantasy of attraction evaporating over time.
Ideology and action become hypnotic bedfellows in 13 Assassins.
Maybe Xavier Dolan’s sophomore effort Heartbeats hit me at exactly the right time in life.
John Sayles’s human mosaics have always sparked hope for the salvation of American independent film.
Outrage always juxtaposes the unsettling action with a beautifully crisp formalism that makes the film increasingly disturbing.
True love sweeps into a person’s life like a volatile weather system, bringing with it an exhilarating sense of hope and possibility.
While both films are stylistically and narratively audacious, they couldn’t be more different in tone.
It’s as if everyone in Aardvark, blind or not, is feeling their way through the world in completely different ways.
Matrimony is rife with mistrust, misdeeds, and misconceptions. But you know what’s worse? Being single. We get it.
The savvy filmgoer will target those films without distribution.
The film’s especially detailed vision of time and place deserves to be seen in high definition.
It turns out the ghosts in the shadows and the monsters with red eyes aren’t horrific enemies, but different versions of our best and worst selves.