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[Cannes Review] Sieranevada

For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off h...

[Review] Kill Zone 2

Containing a number in its title, yet blissfully not chained to franchise requirements -- a decade-long gap between installments perhaps being the first clue as...

[Montclair Review] Slash

Breathing life into a tired genre (coming of age and/or coming out in the American suburbs), Clay Liford’s Slash is an authentic portrait of a young man explori...

[Cannes Review] Staying Vertical

Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience follo...

[Montclair Review] The Arbalest

Albert Lamorisse, the talented maker of fantasy short films and the board game Risk (here the game is rebranded as The Arbalest) influences a young Foster Kalt,...

[Montclair Review] Booger Red

Employing an outsider to disarm subjects deep in Bubba Texas, Booger Red turns to writer/director/actor/provocateur Onur Tukel as its conduit into this world, a...

[Cannes Review] Café Society

Café Society is a quintessential later-period Woody Allen film. That is to say, it’s thoroughly mediocre. It’s by now a sad truism that the octogenarian auteur ...

[Review] X-Men: Apocalypse

The tragedy of the X-Men films is that, despite being responsible for the current boom-industry of comic-book films, they have almost uniformly felt like second...

[Montclair Review] Ma Ma

With a gentle humor in the light of the pain it explores, Julio Medem’s Ma Ma keeps it lens squarely focused on Penélope Cruz’s Magda, a young mother diagnosed ...