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Movie Reviews

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    So Help Me God: Rod Lurie's "Nothing But the Truth"

    [An indieWIRE review from Reverse Shot.]

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    Lady and Ghent: Christophe Van Rompaey's "Moscow, Belgium"

    [An indieWIRE review from Reverse Shot.]

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    Someone to Watch Over Me: Jose Luis Guerin's "In the City of Sylvia"

    "In the City of Sylvia," Jose Luis Guerin's odyssey of perception, is so dedicated to getting inside the act of cosmopolitan female-watching, it might as well be called "City of Women." Alert, feline-eyed Xavier Lafitte is a quiet young flaneur and diarist, an enigmatic figure introduced at loose en...

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    Travel Plans: Nacho Vigalondo's "Timecrimes"

    [An indieWIRE review from Reverse Shot.]

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    Blues Clueless: Rachel Samuels's "Dark Streets"

    [An indieWIRE review from Reverse Shot.]

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    The Play's the Thing: John Patrick Shanley's "Doubt"

    On paper, John Patrick Shanley did everything right in bringing his Pulitzer Prize-winning play "Doubt" to film. He adapted the screenplay and directed himself, assembled a cast with 17 Oscar nominations to their collective credit, and brought in the extraordinary cinematographer Roger Deakins. Given the strength of the source material and the pedigree of its cast and crew, "Doubt" may be the ultimate low-risk, high-reward prestige product, and it would be wrong for me to suggest that Shanley has produced anything less than a gripping piece of work. Despite its many virtues, though, "Doubt" is also bloodless. Handsome, well played, and oddly ...

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    Mad Dog: Paul Schrader's "Adam Resurrected"

    There's no joy to be had in enumerating the shortcomings of "Adam Resurrected," an ambitious and long gestating adaptation of a much-admired novel by Yoram Kaniuk. But in most respects the film just doesn't click: tone stumbles and fumbles meaning, dialogue meanders above uneven visuals, and scenes ...

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    REVIEW | Life on the Margins: Kelly Reichardt's "Wendy and Lucy"

    The Pacific Northwest on display in Kelly Reichardt's latest film isn't restorative, as in her lovely last, "Old Joy," the lust forests of which temporarily heal an ailing friendship; nor is the setting here milked for moody, romantic potential as in the recently released "Twilight." In "Wendy and L...

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    REVIEW | Stark Relief: Yen Tan's "Ciao"

    During a time when American independent cinema either grunts elliptically under moody skies or chatters banally cross-legged on the living room floor, the purposeful, probing dialogue in Yen Tan's "Ciao" feels like a throwback to an entirely different reality. When characters talk in "Ciao," they ar...

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    REVIEW | Blue(s) Movie: Darnell Martin's "Cadillac Records"

    When Syd Nathan, the CEO of King Records, died in 1968, James Brown, the label's greatest star, bought the desk from Nathan's office and had it fitted with a gold plaque reading "I Remember the Man Syd Nathan." Nathan was white, and Brown boastfully black--so how to account for this? If we were to b...

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