When it is at its best, the film finds the perfect symbiotic balance between Kerouac’s prose and the solemn beauty of the open road, where the adventures of a young dreamer plant the seeds of not only one man’s future, but an entire generation of literary hopefuls.
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The very compelling documentary ‘The Gatekeepers’ opens in Kansas City this weekend. Here’s a review of ‘The Gatekeepers’ from the recent True/False Festival!
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G.I. Joe: Retaliation is not high art. It is a sequel to a movie that is based on a 1980s bit of brand fusion that combined a toy line with a cartoon and comic books. It’s an obvious piece of nostalgia farming for a series that was honestly never that great, it is just remembered as […]
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Olympus Has Fallen comes from a long line of dumb action flicks that are more concerned about high body counts and how many rounds of ammunition can be pumped into nameless causalities at high speeds than little things like plot, logic, and character.
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I can with a straight-face and complete seriousness say that ‘Spring Breakers’ is Harmony Korine’s most mature film, and the craft and control that Korine exerts on his medium is incredible.
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In ‘Stoker,’ everything Park Chan-wook’s camera does adds depth and clarity to the emotional or psychological state of the characters within the frame.
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If you want something emotionally moving and different than a lot of American films being made, then you should spend an evening with ‘About Sunny.’ Out on VOD and other digital platforms March 19th.
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James Franco and Sam Raimi return to Oz for the first time in Oz the Great and Powerful, but is the trip worth it? The answer is a resounding, “kind of.”
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The ABCs of Death is a compilation of short films from 26 different directors, each assigned a letter of the alphabet. They were each given free reign to to choose any word they wanted beginning with that letter, and tasked with making a short film about death.
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True/False 2013: Leviathan is the most metal documentary you will ever watch about commercial fishing. Winter Go Away! is an impressive array of journalism and good filmmaking.
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Thursday is True/False Film Fest’s official opening, but Friday is when Columbia, Missouri’s surprising gem of a festival really gets the party kicked into high gear.
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Even though it yawns a bit when the last act begins to look too much like a traditional action movie, ‘John Dies at the End’ is a whole lot of B-movie fun.
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Since Hoult and Tomlinson don’t generate much heat and the story has zero surprises, there’s not any reason to stay invested in this dull fairy tale re-imagining. The film suffers from timing, I suppose, being the most recent in this lame fairy-tale update trend, which seems to exist only to let Hollywood’s VFX artists loose on properties that are immediately familiar to a global audience.
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‘Snitch’ is a character study that’s short on action and a treatise whose true purpose is to lecture the audience on the the evils of mandatory minimum sentencing for drug-related crimes.
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The credit for the warm undertones beneath the anguish should go to Haneke’s extraordinary actors, whose own life experience is on display here. It is key to the movie’s success that the upperclass Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) have a rich past together, especially since only glimpses of it are actually referred to in Haneke’s efficient, clear-eyed screenplay. It is this economy of theme paired with the subtle richness of character that make Amour so powerful.
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