Once upon a time there was an comedian named Chris Farley and a movie named Tommy Boy. Farley, coming from a hardworking middle class Midwestern family, often m...
I had missed Surrogate Valentine at SXSW 2011. However, I learn that Daylight Savings is a continuation of the story of Goh Nakamura (playing himself), an Asian...
Scarlett Road makes a compelling and compassionate argument in its portrait of Rachel Wotton, a mid-30s sex worker in New South Whales Australia, where her indu...
There’s very little redemption in Crazy Eyes, a film that opens with the type of disclosure that appears buried in the end credits next to the copyright informa...
I would have never guessed Louisa Krause had it in her, front and center as a webcam girl in King Kelly, with an opening as she masturbates for her adoring fans...
Reality is a pretty easy thing to portray in a movie. We all have a pretty firm grip on the rules of the world, and the way that certain events will play out on...
There is a lot to love about Jeff, Who Lives At Home, the newest film by the writing/directing team of Mark and Jay Duplass. I could (and intend to) go on for p...
Rebecca Thomas’ Electrick Children opens in an undefined time and like another film about a village, it is revealed what appears to be the past is present day. ...
In Our Nature is a strong debut feature by Brian Savelson. There is a trend this year (and somewhat last year with Sophia Takal’s Green) of people in their late...
Breaking the fourth wall is a daring choice to do a few times in a film. The minds behind Casa de mi Padre show that they are beyond bold, simply going for it a...
