All posts tagged "U.S. Indie Film Review"

  • Blackbird | Review

    The Boys in the Choir: Polk’s Antiquated Rendition of the Rural Gay Narrative The blatant underrepresentation of black gay characters in film, whatever letter they’re...

  • Just Before I Go | Review

    Drop in the Bucket: Cox’s Uneven Directorial Debut Actress Courtney Cox makes her directorial debut with Just Before I Go, based on the first feature...

  • Alex of Venice | Review

    Touch of Venice: Messina’s Understated, Observational Debut There’s much to admire in actor Chris Messina’s assured, astutely observed directorial debut, Alex of Venice. Namely its...

  • The Reconstruction of William Zero | Review

    Less Than Zero: Bush’s Blend is a Well-intended but Exhaustive Piece Drama stimulated by an identity crisis set against a science fiction backdrop poses for...

  • Roar (1981) | Review

    We Bought a Zoo: Marshall’s Early Eighties Oddity Resurrected In the annals of cinema, there are very few examples of entire film productions resulting in...

  • True Story | Review

    The Killer Beside Me: Goold’s Debut Warps Grisly Headline into Funereal Pallor The rapidly fluctuating career of James Franco got a dramatic jumpstart with a...

  • Broken Horses | Review

    Goodbye Horses: Chopra’s Nonsensical English Language Debut The point of Bollywood director Vidhu Vinod Chopra’s English debut Broken Horses seems lost, along with a whole...

  • Farah Goes Bang | Review

    Impeach My Bush: Menon’s Debut a Spirited Period Road Trip Exploring a provocative dark chapter in the voting tendencies of the United States general public...

  • The Harvest | Review

    Harvest Home: McNaughton’s Return Yields Blighted Crop Fans of director John McNaughton, known for his gruesome cult classic Henry: Portrait of a Serial Killer (1990),...

  • Boychoir | Review

    The Angels’ Share: Girard’s Musical Drama a Conventional Return Quebecois filmmaker Francois Girard returns from a near decade long hiatus with Boychoir, his first cinematic...

  • Cut Bank | Review

    The Postman Always Dies Twice: Shakman’s Noir Infused Debut Underwhelms Seasoned television director Matt Shakman (“It’s Always Sunny in Philadelphia”) makes his narrative feature debut...

  • 5 to 7 | Review

    Love in the Afternoon: Levin’s Gallic Flavored Romantic Drama Lacks Sense of Amour Fou Writer and producer Victor Levin makes a patiently observed portrait of...

  • The Girl is in Trouble | Review

    Trouble in Mind: Onah’s Homage to Neo Noir an Indie Echo of Device In development for the past five years since it was initially announced,...

  • Ned Rifle | Review

    Nobody’s Fool: Hartley Concludes His Grim Trilogy While it may be wholly unnecessary to see the two preceding films in the loosely knit Grim trilogy...

  • Marfa Girl | Review

    Days Go By: Clark Returns to Apathetic Adolescence for Latest After having won the top prize at the 2012 Rome Film Festival, controversial filmmaker Larry...

  • Man From Reno | Review

    Reno 911: Boyle’s Indie Neo-Noir an Enjoyable Pulpy Exercise For his fifth feature, indie filmmaker Dave Boyle pays homage to film noir tropes with his...

  • Serena | Review

    Place Beyond the Pines: Bier’s Ungainly Period Piece Revels in Unintentional Gaffs Danish director Susanna Bier’s second English language film, Serena, has gained a bit...

  • While We’re Young | Review

    Confessions of an Aging Artist: Baumbach Humorously Reflects on Filmmaking Ethics and Middle Age In some ways the complimentary antithesis to his last work of...

  • She’s Lost Control | Review

    Body Talk: Marquardt’s Debut Treads Lightly Through Provocative Territory Sexuality, prostitution, and that obscure object of desire are all tricky matters to convey cinematically. In...

  • Lamb | 2015 SXSW Film Festival Review

    Strangers With Cabins : Partridge’s Uncomfortable Sophomore Film Returning behind the camera for the first time since his 2000 debut indie film Interstate 84, actor...

  • Ava’s Possessions | 2015 SXSW Film Festival Review

    Low Spirits: Galland’s Energetic Supernatural Comedy Doesn’t Retain Dominion The increasingly tenuous distinction between what constitutes either horror or comedy is further exemplified in Ava’s...

  • Danny Collins | Review

    Dan in Real Life: Fogelman’s Sugary Directorial Debut Hobbles its Own Charms Screenwriter and producer Dan Fogelman makes a high profile directorial debut with Danny...

  • The Frontier | 2015 SXSW Film Festival Review

    Too Late For Tears: Shai Plumbs the Depths of B-Noir Devices for Punchy Debut A brunette with bloody fingers shakily inhales the fumes of a...

  • Home Sweet Hell | Review

    Hell is Where the Home Is : Burns’ Dismally Heavy-handed Dark Comedy Playing like the crass, harebrained sister of Gone Girl’s infidelity issued ‘hell hath...

  • The Cobbler | Review

    Shoe Be Doo: McCarthy’s Magical Realism Has No Sole Actor Thomas McCarthy has developed a solid reputation as an indie film director thanks to his...