I have to make a screening so this has to be a short one. Insert acknowledgement of the double entendre.
It’s hard to pinpoint exactly why Days of Being Wild doesn’t quite move me like Wong’s other films.
If you’re like me, you enjoy that hearty, full-bodied, elemental component of language that is the swear word.
A shaggy dog story. Really. Really?
The unique thing about the festival is that no one is trying to sell their movie.
“Believer” is a goth-tinged, synth-pop ballad that would fit comfortably in rotation alongside songs from a John Hughes movie.
Certainly there aren’t many carefree moments in this episode apart from the very beginning.
As long as people want to get laid, there will always be something to facilitate first dates.
The play is a heady Brechtian mashup that surprisingly charms rather than ironically alienates.
Early on in Children of Hiroshima, a rapid series of snapshots of the titular city flicker on screen.
Like transmissions from another time or dimension, Julia Haslett’s personal journey bleeds into her biography of Weil.
Chocolate-covered scallops, anyone?
Full Frame this year offered a programmatic theme notable in the variety of its manifestations: obsession.
One of our favorite indie labels, Paper Bag Records, has released a track-for-track cover of Madonna’s True Blue album.
Virgil Vernier’s Pandore is a marvelous example of minimal authorial presence.
Special guests, who gave “master classes,” were actors Tim Roth and Richard Jenkins, and art director Roger Christian.
The film feels familiar because every tabloid or celebrity story of the past 30 years has followed the exact same outline.
Roger Corman has had as much influence over modern Hollywood as Spielberg or Scorsese, and for good reason.
Our man Rajesh is as good as it gets, a courageous family man, a dreamer, for whom little seems to go right.
Junk Palace is a beautiful piece of craftsmanship well worth the small expense of time it takes to see it.