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

  • Small Time | Review

    Refurbished: Surnow’s Debut a Casserole of Cliché Seasoned television writer and producer Joel Surnow makes his directorial debut with Small Time, based on an autobiographical...

  • Proxy | Review

    Lady Liars and Psycho-sexual Thrills; Zach Parker’s Proxy is a Rocky Ride Countless blockbusters have used and abused the idea of doppelgängers and surrogates, but...

  • Proxy | Review #2

    Pinch-hitting: Parker’s Latest as Surprising As it is Unwieldy With a series of continuously improving indie horror thrillers under his belt, filmmaker Zack Parker launches...

  • 13 Sins | Review

    Game On: Stamm’s Latest a B-Grade But Fun Genre Flick Director Daniel Stamm leaves behind the found footage genre for his third outing as director...

  • Only Lovers Left Alive | Review

    Eternity and a Day: Jim Jarmusch’s Vampire Flick Is Typically Jarmuschian After his droll yet audience-friendly quirkfest Broken Flowers took home the Grand Prix at...

  • Hateship Loveship | Review

    Shipping Out: Johnson’s Sophomore Effort Misses the Boat Director Liza Johnson follows up her 2011 directorial debut, Return, with Hateship Loveship, an adaptation of a...

  • Afflicted | Review

    From Dusk Till Foregone: Prowse & Lee’s Entertaining Debut Suffers From Formatting Traps There’s a lot of uncomfortable fun to be had as Afflicted unspools,...

  • In the Blood | Review

    Blood Crush: Stockwell Returns to Exotic Paradise for B Movie Thrills Considering that In the Blood was scripted by James Robert Johnston (The Howling Reborn;...

  • 10 Rules for Sleeping Around | Review

    To Sleep Perchance to Scream: Grief’s Latest a Comedy Cancer Every once in while a film comes along that’s so horrendously botched in every regard...

  • The Retrieval | Review

    Repo Men: Eska’s Latest a Gripping Coming of Age Narrative Certain to be referred to as an indie film counterpart to Quentin Tarantino’s 2012 Django...

  • Dom Hemingway | Review

    Vacant Domicile: Shepard’s Latest Hides Absence of Narrative Behind Titular Character As foul mouthed and over-the-top as it sometimes tends to be, Richard Sheperd’s latest,...

  • Maladies | Review

    Crazy, Stupid, Art: Carter’s Directorial Debut Less than the Sum of its Parts Multimedia artist Carter makes his directorial debut with Maladies, an intriguing sounding...

  • Cheap Thrills | Review

    Foolish Games: Katz’s Debut Collapses Under Excessive Shock Value There’s certainly a palpable amount of perverse thrill checkered throughout E.L. Katz’s directorial debut, Cheap Thrills,...

  • A Birder’s Guide to Everything | Review

    Bird is the Word: Meyer’s Debut a Well Meaning But Slight Observation Bird watching seems to be something of a recent cinematic inspiration, though has...

  • Rob the Mob | Review

    Dog Eat Dog: De Felitta’s Entertaining Take of a Take After the success of his 2009 indie feature, City Island, Raymond De Felitta turns to...

  • Before I Disappear | 2014 SXSW Review

    The Sting Called Love: Christensen’s Debut Rife with Melodramatic Cliché Shawn Christensen, who won an Academy Award for his 2013 short film, Curfew, expands his...

  • I Believe In Unicorns | 2014 SXSW Review

    Oh Them Silly Unicorns: Meyerhoff’s Coming of Age Debut Prizes Style Over Substance Director Leah Meyerhoff most effectively conveys the nature of her debut film,...

  • The Den | Review

    Unlawful Entry: Donohue’s Debut a Promising Idea with Faulty Execution Director Zachary Donohue brings the home invasion thriller to the millennial doorstep with his directorial...

  • Bad Words | Review

    Scatological Prowess: Bateman’s Directorial Debut an Amusing Vulgarity Fans of fare like Bad Santa and Bad Teacher should rejoice in Bad Words, foul-mouthed fodder involving...

  • Haunt | Review

    Haunt Me Tender: Carter’s Debut Reduced to Derivative Schlock As Mac Carter’s directorial debut, Haunt, quickly unfurls a haul of standard haunted house clichés, don’t...

  • HairBrained | Review

    School Ties: Kent’s Latest Film Doesn’t Make the Grade If you’re at all familiar with director Billy Kent’s previous film, 2006’s The Oh in Ohio,...

  • Hits | 2014 Sundance Review

    David Cross Graduates from Small Screen Satire, Inviting Hipsters and Libertarians to the Party David Cross translates sketch comedy prowess into organized chaos, marking his...

  • Barefoot | Review

    Sterile Cuckoo: Fleming’s Latest a Series of Rotund Clichés Director Andrew Fleming returns with his first film since 2008’s neglected Hamlet 2, a road trip/mental...

  • Cavemen | Review

    Puddle of Mud: Faber’s Debut an Antiquated Exercise of Quest for Love Romantically inclined comedies from the dude’s perspective may seem rare, but often suffer...

  • The Pretty One | Review

    A Stolen Life: LaMarque’s Debut an Entertaining, Borrowed Premise Identical twins and their cannibalistic tendencies have long been a fine cinematic tradition of the dramatic...