Reviews

  • The Hunger Games: Mockingjay – Part 1 | Review

    The Games They Play: Collins’ YA Dystopia Trudges On and On As is now customary in the designed business model of franchise movie making, the...

  • A Girl Walks Home Alone at Night | Review

    Walking After Midnight: Amirpour’s Expressive, Moody Debut Described as an Iranian vampire film with all its characters speaking Farsi, yet filmed in California and set...

  • V/H/S: Viral | Review

    Headcleaner: VHS Series Gets Third Installment Blues Perhaps after this third installment this franchise can enter the same void for the format which it’s named,...

  • National Gallery | Review

    Museum Hours: Wiseman’s Tour through London’s Famed Museum If you’ve never been to The National Gallery in London, England, one of the most preeminent museums...

  • Big Eyes | Review

    Soul Windows: Burton Returns to the Biopic with Flagging Interest Long judged as a director clearly intent on recycling the same motif, themes, and styles,...

  • Human Capital | 2014 AFI Film Festival Review

    For What It’s Worth: Virzi’s Leftist Neo-Noir a Capitalistic Parable Receiving its North American premiere last spring at the 2014 Tribeca Film Festival, where it...

  • Wild | Review

    A Prayer for the Wild at Heart: Vallee Continues Reinvention of Lost Souls Arriving at the end of star Reese Witherspoon’s auteur binge is one...

  • Viktor | Review

    From Russia with Schlock: Martinez’s Derivative Revenge Flick While there’s certainly a modicum of perverse interest to be satisfied in witnessing the rotund Gerard Depardieu...

  • Starry Eyes | Review

    Eyes Without a Place: Kolsch & Widmyer’s Horrors in Hollywood Madonna’s famed verse asks the hypothetical question of Hollywood, “How could it hurt you when...

  • Miss Meadows | Review

    A Spoonful of Violence: Hopkins’ Unbalanced Sophomore Effort Actress turned screenwriter turned director Karen Leigh Hopkins unleashes her sophomore feature Miss Meadows after its premiere...

  • Rosewater | Review

    Solitary Confinement Is Boring: Stewart’s Adaptation Of Bahari’s Lengthy Detainment is a Slick, Tame Affair Jon Stewart’s first foray into the fictional film arena is...

  • The Gambler | 2014 AFI Film Festival Review

    Kens and Dolls: Wyatt Revamps Toback Prose for the Plastic Age Working steadfastly against the success of Rupert Wyatt’s up-do of The Gambler, which was...

  • The Homesman | Review

    Jumping Claims: Jones’ Attempt at Revisionist Western Withers Under its Own Intentions Try as it might, The Homesman, Tommy Lee Jones’ first directorial effort since...

  • Beyond the Lights | Review

    Why you wanna fly, Blackbird?: Mbatha-Raw Vibrantly Imbues Prince-Blythewood’s Showbiz Melodrama A systematically underrated director, Gina Prince-Bythewood returns with her third feature film, Beyond the...

  • Gett: The Trial of Viviane Amsalem | 2014 AFI Film Festival Review

    Horse & Carriage: The Elkabetzs’ Kafkaesque Interpretation of So-Called Sacred Institution The third film in a trilogy examining the relationship between a husband and wife...

  • The Tribe | 2014 AFI Film Festival Review

    Get the Picture: Slaboshpitsky’s Excellent, Memorably Pronounced Debut In a sea of derivative cinematic components, wholly original ideas seem few and far between. In a...

  • Inherent Vice | 2014 AFI Film Festival Review

    The Vice is Right: Anderson’s Inherently Incoherent Pynchon Trip For his seventh film, auteur Paul Thomas Anderson stakes a claim as the first filmmaker to...

  • The Theory of Everything | Review

    Scenes From a Marriage: Marsh’s Distilled Look at Physicist Stephen Hawking Spanning twenty five years in their lives together and based on the memoir Travelling...

  • A Merry Friggin’ Christmas | Review

    Blight Christmas: Shapeero’s Debut is Not the Most Wonderful Time of the Year There’s a reason why Tristram Shapeero’s film debut A Merry Friggin’ Christmas...

  • Open Windows | Review

    Peeping Tom: Vigalondo’s Virtual Voyeurism Thriller Too Wrapped Up in Tech In the barest possible sense, Nacho Vigalondo’s latest film, Open Windows, can perhaps be...