Movie Reviews
Has Alexander Payne Gone Soft?
Cannes: 'All Is Lost'
Cannes: 'Grigris'
Cannes: Clare Denis Disappoints
Cannes: Franco's 'Dying'
Cannes: 'Last Days on Mars'
Cannes: 'Llewyn Davis'
Cannes: Alejandro Jodorowsky's Latest
Cannes: 'Congress' Indicts Hollywood
Cannes: Farhadi's 'The Past'
Teen Movies at Cannes
How Gratuitous is Luhrmann's 'Gatsby'?
Caryn James on 'Gatsby'
Polley's 'Stories We Tell'
The Best 2013 Indies (UPDATED)
Keanu Reeves' Weirdest Role
'Richard Pryor: Omit the Logic'
The Best Double Bill of the Year
Where Are the Good Tribeca Narratives?
'Gasland' Gets a Sequel
Tribeca Review: 'Lenny Cooke'-
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In a Lonely Place: So Yong Kim’s “Treeless Mountain”
[An indieWIRE review from Reverse Shot.]
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Toeing the Line: James D. Stern and Adam Del Deo's "Every Little Step"
[An indieWIRE review from Reverse Shot.]
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A Dazzling Journey: Alex Rivera's "Sleep Dealer"
EDITOR'S NOTE: This review was original published as part of indieWIRE's coverage of the 2008 Sundance Film Festival
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The Best Intentions: Eran Riklis's "Lemon Tree"
[An indieWIRE review from Reverse Shot.]
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This Is (Still?) England: John Crowley's "Is Anybody There?"
[An indieWIRE review from Reverse Shot.]
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An Exclusive Clip From Eran Riklis' "Lemon Tree"
"The rare ability to make intelligent, entertaining cinema from hot-button current issues is beautifully illustrated by 'Lemon Tree,' a multifaceted drama straddling the Palestinian-Israeli chasm that's marbled with irony, generosity, anger and pure crowd-pleasing optimism," writes Variety's Derek E...
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Round up: Anna Boden and Ryan Fleck's "Sugar"
"Anytime you actually finish a film, I think it's a success. And to have that film seen and liked by audiences is the ultimate. I just hope to continue making and finishing films. And then get them seen," "Sugar" co-director Ryan Fleck told indieWIRE back in 2006 when his feature, "Half Nelson" hit ...
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Round Up: Matt Aselton's "Gigantic"
"I don't remember ever wanting to just haul out and punch a movie before 'Gigantic,'" Nick Pinkerton writes in his review of Matt Aselton's film for The Village Voice.
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