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Review: A PATCH OF FOG Dramatizes the Discomfort of Strangers

Exhausted by the travails of celebrity, a writer wants to retire. This in itself is a strange proposition. Writers want to write -- need to write -- and the idea of retirement is usually only entertained by those who are...

Slamdance 2017 Review: WEATHER HOUSE Roofs Absurdism and Minimalism For Timely Allegory

The initial setup of Weather House, the directorial feature debut by Frauke Havemann (co-directed by Erik Schefter) remains basic throughout the whole duration of the film. A group of people whose relations are not disclosed and who could easily be...

Slamdance 2017 Review: AEROTROPOLIS, An Elegantly Made Portrait of (Sub)Urban Alienation

Li Jheng-neng's debut feature is an elegant, microbudget vision of urban/suburban anomie, which has qualities that will be familiar to intrepid art filmgoers, especially those conversant with the films of Li's fellow Taiwanese countryman Tsai Ming-liang.

Slamdance 2017 Review: DIM THE FLUORESCENTS, Work is Theater

In the tradition of films that pull back the curtain on the inner workings of showbiz, writer/director Daniel Warth’s Dim The Fluorescents shows us the ins and outs of… corporate training seminars. It’s not the most exciting place to be,...

Slamdance 2017 Review: DAVE MADE A MAZE With Entertaining Traps

With its explosion of creativity, its thrilling concept and its lovely characters, Dave Made A Maze is a fine example of how a creative team can overcome the restrains of a tight budget to offer a fun ride.

Slamdance 2017 Review: WITHDRAWN Maxes Out its Miserabilism for Introspection

Aaron (Aaron Keogh), who left his mother's home, lives with Adrian in a basement-like apartment that permits each of them to live their own lives, clean their clothes, make their food, watch never-ending conspiracy videos and tutorials on Youtube, as...

Slamdance 2017 Review: Laugh At Awful People in NEIGHBORHOOD FOOD DRIVE

Neighborhood Food Drive’s synopsis should be a clue as to what kind of film it is: “Awful idiots fail at throwing a party over and over”. Director Jerzy Rose definitely wasn’t out to make a feel-good comedy with those emotional...

Slamdance 2017 Review: WEXFORD PLAZA, A Small Slice Of Real Life

Wexford Plaza plays out its story on a small and intimate scale, a picture of suburban life which probably repeats itself in many an abandoned strip mall. Joyce Wong didn't feel the need to go big, and this affecting little slice of life is all the better for it.

Slamdance 2017 Review: CORTEZ, A Quietly Affecting and Beautifully Acted Debut

It's not easy to find cinema that transports the viewer into a place filled with people who genuinely seem to have existed before the film begins and long after it rolls credits. Cortez offers just that.

Sundance 2017 Review: I DON'T FEEL AT HOME IN THIS WORLD ANYMORE, One Hell of a Ride

Most of us met Macon Blair onscreen as a the bearded, disheveled lead of Blue Ruin. Homeless and hapless, the character soon evolved into one of the more startling and indelible in indie cinema, a bravado performance that justifiably gained...

Review: DETOUR, Christopher Smith's Mind and Time-Bending Neo Noir

Christopher Smith's neo-noir thriller, Detour, should keep audiences guessing until the end

Review: THE RED TURTLE, Gorgeous and Seriously Emotional

Human emotions can be fragile, unpredictable things. However, they can sometimes also be pretty damned predictable. Show someone a kitten and they'll feel an emotional pang. Show a human going through the stages of life from youth to life's logical...

Review: THE FOUNDER, There Will Be Burgers

The evolving nature of the film biopic has recently become quite interesting to me. Insofar as Pablo Larraín's Jackie is as much about Theodore H. White's Life magazine article as it is about the iconic First Lady, so John Lee Hancock's...

Review: THE SUNSHINE MAKERS, True Believers and the Psychedelic Revolution

They amble more than they walk nowadays. But for a brief period in the late 1960s, they were giants who ruled the world. They took their first acid trips on opposite ends of the United States, Tim Scully in San...

Review: XXX: RETURN OF XANDER CAGE Is Legitimately Expendable

Vin Diesel resurrects extreme sports secret agent Xander Cage for this belated third entry in the xXx franchise, 12 years after Ice Cube last carried the torch for counter-culture covert operatives. Boasting a large international ensemble and a globe-trotting espionage...

Review: In SPLIT, M. Night Channels His Best Uncanny Work Through James McAvoy

Split has it both ways; it is a film that creatively capitalizes on the thriller genre, and an excellent example of the quality and innovation the much-maligned director was initially lauded for. Through directing epic-scale flops (The Last Airbender), smaller...

Blu-ray Review: Fassbinder's FOX AND HIS FRIENDS Cuts Just As Deep 40 Years Later

Rainer Wener Fassbinder has always been an artist I've respected by reputation, rather than through a deep knowledge or understanding of his work. In fact, I've only see a handful of Fassbinder films and I will admit to tapping out...

Review: LIVE BY NIGHT, Ben Affleck's Uneven Gangster Epic

For Live by Night, Ben Affleck returns to the directing chair for the first time since the highly-acclaimed Argo (2012) and proves he has lost none of his directing chops. Almost polar opposite from that tense, realistic depiction of a...

Review: BAD KIDS OF CRESTVIEW ACADEMY

Ben Browder's film Bad Kids of Crestview Academy starts with a bang, with a SWAT-team storming a school. The policemen find mutilated bodies, a crashed Porsche, and a schoolgirl who literally opens fire on them (pun intended: she uses a...

Review: MONSTER TRUCKS Lives Up to Very Low Expectations

I feel like a 4-year-old boy when I say it, but Monster Trucks is my #1 movie of 2017. Of course, this being only the second week of January, it's also my only movie for 2017 so far. But speaking...