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Movie Reviews

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    REVIEW | Domestic Violence: Andrew Currie's "Fido"

    by Michael Rowin on June 10, 2007

    The rom-zom-com--the romantic zombie comedy--spearheaded by "Shaun of the Dead" continues to build momentum with "Fido," a candy-colored satire of the "Leave It to Beaver" Fifties, in which the Eisenhower era is reimagined as a macabre world populated by the living dead. Writer-director Andrew Curri...

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    REVIEW | Children of the Revolution: Corneliu Porumboiu's "12:08 East of Bucharest"

    by Indiewire on June 7, 2007

    Unless I've missed the boat, the definitive take on the impetus behind the recent, unlikely surge in terrific Romanian cinema has yet to be published; that a country more often linked in the public consciousness (vampires aside) to vague ideas of post-Communist black market capitalism run amok shoul...

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    REVIEW | Grand Dame: Olivier Dahan's "La Vie en rose"

    by Kristi Mitsuda on June 6, 2007

    Encompassing hardship and tragedy of near-mythic proportions, the details of Edith Piaf's life story seem spawned from literature and are so well-suited to cinematic adaptation they appear invented. Abandoned by her mother as a child and raised for a time by her grandmother in a brothel, only to be ...

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    REVIEW | Mortal Coil: Adrian Shergold's "Pierrepoint: The Last Hangman"

    by Chris Wisniewski on June 5, 2007

    "Pierrepoint: The Last Hangman," which first debuted at the Toronto Film Festival back in 2005, may have the highest body count of any movie to hit American theaters this side of "300." Since Albert Pierrepoint was among Britain's most prolific (though in point of fact not its last) hangmen - the fi...

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    REVIEW | Story Telling: Rolf De Heer's "Ten Canoes"

    by Indiewire on May 31, 2007

    I'm usually left slightly anxious by those works of western filmmakers that take as their subjects the nature and stories of indigenous peoples. The potential for exploitation - artistic, commercial, moral - runs so deep in these instances of cultural intersection that it's amazing such films don't...

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    REVIEW | Earthbound: Luc Besson's "Angel-A"

    by Nick Pinkerton on May 25, 2007

    In a comeback that I've been anticipating only slightly more than the reemergence of JNCO jeans or polio, Luc Besson now returns to American theaters after a nearly decade-long absence. The occasion is the release of "Angel-A," a Paris-set variation on "It's a Wonderful Life," which replaces Clarenc...

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    REVIEW | Panic Room: William Friedkin's "Bug"

    by Michael Koresky on May 23, 2007

    Even during the heyday of the American paranoia thriller, there was never a performance quite like the one given by Michael Shannon in William Friedkin's take-no-prisoners adaptation of Tracy Letts's off-Broadway play about fear and loathing in an Oklahoma motel room. As Peter Evans, the blandly nam...

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    REVIEW | Simple Men: Bruno Dumont's "Flanders"

    by Indiewire on May 14, 2007

    Like Gaspar Noe with a colder, reptilian eye, or a brutalist Robert Bresson, Bruno Dumont cut a divide through contemporary cinematic circles with his first three features. That this swath is tiny and both his detractors and supporters fall largely within that camp we could label "serious cinephile...

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    REVIEW | Sweet Sounds: John Carney's "Once"

    by Indiewire on May 11, 2007

    A new almost-musical from Ireland, "Once" neatly transcends even the hoariest of cliches about the sublime communicative powers of pop music. This is a treat and a surprise, as films this slight and unassuming often seem more apt to curl up into themselves than approach any sort of expansiveness. A...

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    REVIEW | Unspoken Truth: Tsai Ming-liang's "I Don't Want to Sleep Alone"

    by Michael Koresky on May 8, 2007

    Even as Tsai Ming-liang nearly hypnotizes the viewer with his elegantly composed static images and methodical pacing, rarely does a filmmaker encouraged such active engagement with stillness. The Taiwanese director might be the visual narrative stylist par excellence working in cinema today; an enti...

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