Edward Yang’s filmography is a body of work of and about progress, a body of themes and ideas that all come together in his swan song.
The video transfer on Millenium Entertainment’s DVD release of Trespass looks pretty sharp, with no visible blemishes and absolutely no combing.
The creators of Ra.One are mindlessly proud of their film’s family-friendly message.
The Robber isn’t all it could be, but there’s a kernel of a great film in it.
It winds up looking paranoid and more than a little ridiculous.
The Catechism Cataclysm meaninglessly shows how scary it can be to live your life as a protagonist in a shaggy-dog story.
While its not for everyone, the film is one of director Park Chan-wook’s best.
Every character’s gesture is paradoxically bombastic and consequential.
The most striking thing about Carnage is how much funnier it is than its source material.
The apolitical nature of Incendies is strangely more irksome than the film’s tempestuous and highly controversial final twist.
There’s a reason why people associate Darren McGavin with Kolchak: The Night Stalker.
Circo is too all over the place to be more than just a missed opportunity.
Sons of Anarchy’s third season puts one of FX’s most unsung dramas back on track.
The film is just an intermittently promising bit of schlock, nothing more and nothing less.
Love Exposure is, in a sense, Sion Sono’s equivalent of the Great Russian novel.
Road to Nowhere is a tribute to the artifice and the rawness of cinema.
Neither Gon nor Doctor B make cameo appearances in Tekken the movie. You do not want to see Tekken the movie.
Damages back-slips noticeably during its third season, but never so much that the show is worth writing off.
Zookeeper is essentially a surreally awful Happy Madison Productions version of Mad Libs.
Here’s to many more freaky years at the New York Asian Film Festival.