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[Review] Still Life

Oscar-nominated producer (for The Full Monty) Uberto Pasolini's second film as writer/director isn't easily categorized. Aptly labeled with the hybridized compr...

[Review] Spare Parts

Tucked away in a screen at your local multiplex you’ll find another feature film, all be it not an Oscar prestige drama, tackling another contemporary issue hea...

[Review] Blackhat

Is there a way for a village to get wiped out—buildings and people—and still ensure the dogs are safe? No. So why do Michael Mann and Morgan Davis Foehl write B...

[Review] La última película

Like filmmakers before him who have crafted works expressing the fears and anxieties surrounding Y2K (Wong Kar-wai, David Fincher, and Gary Burns spring to mind...

[Review] Taken 3

The saying “it is what it is” comes to mind when describing Taken 3. While that's certainly a cop-out in film criticism, unlike the thrillers that promise thril...

[Review] Something, Anything

Don’t let the generic title fool you. Paul Harrill’s Something, Anything gently tells its story through detailed specificity. One might not be able to place the...

[Review] Li’l Quinquin

There is much talk about whether Li’l Quinquin, the latest from Bruno Dumont (Camille Claudel 1915, L'Humanité, Flandres) is a TV series or a film. It was commi...