Because all the distinct directors were allowed complete creative autonomy, Freakonomics lacks for tonal cohesion.
Like the counterculture icon that penned the poem that serves as the title to Rob Epstein and Jeffrey Friedman’s film, Howl is one odd bird.
The Other City follows several D.C. denizens whose day-to-day lives are directly affected by the policies emanating from Capitol Hill.
As the economy crumbles all around us, Depression-era nostalgia is in the air.
Bravely riding full speed ahead, Biker Fox nevertheless ends up in the very same place.
Dermansky brings a refreshing mix of honest fandom and driving curiosity to her second novel.
With open mind and heart, and with utmost respect, the director films his parents and siblings, but this noble approach is far too tentative.
The raw facts are undeniably where the real emotion of Neshoba: The Price of Freedom lies.
In lieu of a flurry of left hooks and roundhouse kicks, we stay safely in Stallone’s comfort zone of shoot ‘em ups and shit getting blown up.
What’s most fascinating are the dirty little secrets George Butler chooses to leave off-screen, starting with the competition itself.
Shari Springer Berman and Robert Pulcini seem in a desperate losing battle trying to elevate their film above its shtick.
Because LaBute has been stuck on a loop for the past decade without challenging himself, how can he possibly challenge his audience?
Mads Mikkelsen possesses the same distilled intensity as Nicolas Winding Refn’s style.
Lisa Cholodenko is one of the more radical visionaries working in American indie cinema today.
At Rooftop Films, the magic of cinema slices right through the hype.
Annyong Yumika is nothing if not thorough, often amusingly so.
One can’t help but think Werner Herzog would be tickled pink by both the doc and the rebel director behind its lens.
By a certain point, Raoul Peck’s Shakespearean grandeur turns to shrugging ludicrousness.
The film is crafted with love for everything from raindrops on a windshield to a cheesy Elvis impersonator.
Jim Finn’s film feels like a throwback to the wild inventiveness of public access TV.