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[Review] Least Among Saints

That-guy actor Martin Papazian goes for dramatic gravitas in his directorial debut Least Among Saints and finds more success than not in the process. Wanting to...

[Review] Here Comes the Boom

Let's face it, I haven't thoroughly enjoyed a straight Happy Madison production -- I exclude Apatow's and Binder's because they would have probably been made wi...

[Review] The Thieves

Saying Dodookdeul is the Korean Ocean's 11—like I had been after reading the synopsis—ended up not being as hyperbolic as I originally thought. Coming from one...

[Review] Nobody Walks

Each era has its film movement. Millennials found theirs with mumblecore, its chicly boring indie nature reflecting the confusion of a well-educated yet directi...

[Review] Simon & the Oaks

A tale about family, its many definitions and its discovery through the prism of an unstable time, Marianne Fredriksson's international bestseller Simon och eka...

[NYFF Review] Not Fade Away

In an ironic way, Not Fade Away is perhaps most interesting when it's explicitly referencing the small-screen roots of its writer-director, Sopranos honcho Davi...

[Review] Taken 2

Opening next week, Seven Psychopaths contains a scene that sums up the MacGuffin driving Taken 2 – Sam Rockwell ponders the a validity of “an eye for an eye," c...

[Review] Butter

Butter, directed by Jim Field Smith, begins brave and strong, like so many pieces of satire. And while it does form into a pleasantly light, sweet-hearted exami...

[Review] The Oranges

The Oranges, the feature directorial debut of Julian Farino (producer of HBO’s Entourage), operates within a setting so brutally common within the world of the ...