U.S. Indie Film »
Sun Don’t Shine | Review (AFI Film Fest)
Madlands: Seimetz’ Relationship Drama Takes Us on a Road Trip to Love Hell Managing to balance an insanely busy schedule that boasts quality and quantity, actress/producer Amy Seimetz debuts her feature directorial debut with
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Sun Don’t Shine | Review (SXSW)
Orange State: Seimetz ninety minutes. Between them, they barely own one T-shirt. Crystal and Leo, two people with next to nothing, roam the deserted highways and murky backwaters of central Florida, running away from
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It’s a Disaster | Review
An Incredible Mess: Todd Berger’s Apocalypse a Hilarious Gas The end of days have never looked like a better time to spend with friends than they do in director Todd Berger’s latest film, a
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Towheads | Review
O is for the Other Things: Plumb’s Debut an Idiosyncratic Exercise in Domestic Ennui Video and performance artist Shannon Plumb makes her directorial debut with Towheads, which showcases her considerable talent for physical comedy
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Factory 25 is Obsessive about Andrew Semans’ Nancy, Please
The Brooklyn distrib label that we adore has added one more indie treat to their upcoming slate with Andrew Semans’ Nancy, Please. The 2012 Tribeca preemed title is set for a May 24th NYC
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Brady Corbet to Lend Brotherly Support in Paradise Lost
Actor turned director Andrea Di Stefano’s ambitious directorial debut already has big names on its roster, such as Benicio del Toro, and teenage star Josh Hutcherson (The Hunger Games). Deadline reports that joining Paradise
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The Place Beyond the Pines | Review
The Pompatus of Fate: Cianfrance’s Masterpiece an Ode to Ties that Bind After his gloriously depressing 2010 sophomore film, Blue Valentine, a hellish drama revolving around one couple’s marital strife, Derek Cianfrance somehow manages
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Drinking Buddies | 2013 SXSW Review
Supersize Me: Swanberg Remains Intimate Despite Bigger Budget Harkening back to the studio system of the 1930s and 40s, the prolific writer/director Joe Swanberg has managed to direct 15 features since 2005, a staggering
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Bottoms Up in SXSW; Magnolia Toasts to Swanberg’s Drinking Buddies
Making it two for two in just as many days, off the heels of a great showing in SXSW and the pick-up of Milo, Magnolia Pictures have added Joe Swanberg’s Drinking Buddies to their
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Computer Chess | Review
Bujalski adds Technology to the Perils of Human Connection In an Andrew Bujalski film, there is nothing harder than making yourself understood. Funny Haha is now considered a watershed moment, a film that spawned
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Spring Breakers | Review
In Harmony Korine’s previous work, from his incendiary debut Gummo all the way through the almost-impenetrable Trash Humpers, he afforded his audience the luxury of distance. The people who watched his films celebrated Korine’s
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Criterion Collection: Badlands | Blu-ray Review
1973’s Badlands marked the first feature film from writer/director Terrence Malick and it squarely put him on the path to his current cinematic sainthood. Over a forty year career and a scant six feature
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Eden | Review
Garden Snakes: Griffiths’ Latest a Harrowing Tale with Compelling Lead Director Megan Griffith’s follows up her well acted yet downtroddingly paced sophomore effort The Off Hours with an unnerving reenactment of sex trafficking from
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K-11 | Review
Hamshank Redemption: Stewart’s Debut a Trashy, Lurid Queersploitation Effort Jules Stewart, mother of that actress Kristen Stewart, makes a curious and fascinatingly trashy exploitation grindhouse directorial debut with K-11, which plays like one of
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If I Were You | Review
Rough Draft: Carr-Wiggin’s Latest Buoyed Exclusively on the Charms of Lead Actress If one were to look for fresh evidence of the perennial talents of the gifted Marcia Gay Harden they could definitely find
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Better Mus’ Come | Review
From the Wicked, Carry Us Away: Saulter’s Debut an Energetic Cold War Period Piece Jamaican writer/director Storm Saulter makes an impressive debut with period piece Better Mus’ Come, a drama depicting the vicious political
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Emperor | Review
Classroom Exercise: Webber’s Latest Historical Drama Dry and Sleepy Arriving with all the subdued excitement of a vaguely written history textbook comes Peter Webber’s latest film, Emperor, which documents the true story of one
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Stoker | Review
India Song: Park-wook’s English Language is Stylized Creepy and Kooky South Korean master Park Chan-wook returns with his English language debut, Stoker, a heavily stylized mystery thriller that’s a grotesquely decorated façade with a
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Future Weather | Review
Climate Control: Deller’s Debut Features Compelling Lead Performance For her feature film debut, writer/director Jenny Deller has made a solidly crafted film, Future Weather, which is grounded with an extremely likeable performance from its
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Welcome to Pine Hill | Review
Transcendental Hurrah: Miller’s Moving Film an Exercise in Isolation Based on his 2010 short film, Prince/William, Keith Miller has expanded his debut Welcome to Pine Hill into a moving drama that manages to maintain
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Bless Me, Ultima | Review
Bless This Mess: Franklin’s Period Piece Strangles Intriguing Premise Carl Franklin returns with Bless Me, Ultima, his first feature since 2003’s Out of Time. An adaptation of a 1972 novel by Rudolfo Anaya, which
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The East | Sundance 2013 Review
Activism Unchained: Batmanglij Thrills With Eco-Terror Seemingly a perfect union, the writing duo of director Zal Batmanglij and his hypnotic on screen muse, Brit Marling, return to the big screen with their second collaboration,
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Almost In Love | Review
Almost Interesting: Sam Neave’s Latest Technically Impressive, Dramatically Impotent Coasting along on a matter of style over substance is Sam Neave’s latest film, Almost In Love, in which the indie director pulls a Rope
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The Power of Few | Review
Meaningless Affect: Marucci’s Interactive Film Project a Dreadful Observation of Social Awareness Moments into Leone Marucci’s incomprehensibly obnoxious new film, The Power of Few should have one pondering not only how some of the
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Keep the Lights On | Blu-ray Review
With his latest, director Ira Sachs provides further proof of his narrative proficiency while delving into the most personal aspects of his previous long term relationship which crumbled in the hands of indecision and
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"Ron and I wanted to make a film that looked at what it means to be an outsider and we wanted to explore what it takes to reach out to someone whose life is very removed from your own."
