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Movie Reviews

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    Big Screen | Anti-Date Movie "Everyone Else" Opens To Raves

    "If there’s one movie this spring that you shouldn’t see with a date, it’s 'Everyone Else,'" Anthony Lane wrote this week in his New Yorker review of the new film, "unless you are looking for a quick, low-budget way to break up." While that may be the case with Maren Ade's meticulously observed dep...

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    REVIEW | Film Noir Footwork: Nash Edgerton's "The Square"

    The title of Nash Edgerton's "The Square" could easily refer to the neatly packaged category of film noir in which it exists. The Australian director's first feature involves a pair of star-crossed suburban adulterers whose background scheming is doomed to fail, and from the opening minutes, the ent...

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    criticWIRE This Week: "Weather" Leads SXSW; "Chloe" Lowest Ranked Opener

    criticWIRE is back with both an updated calendar of films that takes on new theatrical releases through the summer - including four films opening this week, and many grades of films from the recent SXSW Film Festival, which concluded this past weekend. More will be added as additional writers weigh ...

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    REVIEW | Egoyan's Accidental Black Comedy "Chloe" Succeeds as Guilty Pleasure

    EDITOR'S NOTE: This review was originally published as part of indieWIRE's coverage of the Toronto International Film Festival. "Chloe" is being released in theaters this Friday.

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    SXSW '10 | The Genre Jig Beyond Mumblecore

    The elusive form of American independent cinema known as mumblecore has been killed off many times over, but its phantoms still haunt the reputation of the South by Southwest Film Festival. This year, however, seemed like a welcome exception: With no premieres from Joe Swanberg or Andrew Bujalski, a...

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    REVIEW | Fraternity Failure: Will Canon's "Brotherhood"

    A breathless thriller from its very first frame, Will Canon's "Brotherhood" careens forward with spastic momentum. Following a group of deranged frat boys in a single night of hazing gone awry, Canon eschews patient storytelling in favor of wall-to-wall sequences loaded with distress. The dialogue is cheap and incredulous, the plot twists seem too perfectly conceived, and it ends with a shrug rather than any kind of natural climax. But "Brotherhood" succeeds as sheer pulpy entertainment, ferociously indicting frat culture in much the same way that "Hostel" critiques rambunctious American tourism - simplistically, but not at the expense of a g...

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    REVIEW | Americana in Microcosm: Jeff Malmberg's “Marwencol”

    Jeff Malmberg’s “Marwencol” portrays an accidental artist for whom creativity serves as catharsis, rather than angst. Mark Hogancamp, an upstate New York resident left with brain damage after several men attacked him outside of a bar in 2000, copes by creating his own world. An amnesiac and alcoholi...

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    REVIEW | Fierce Iconoclasm: Cameron Yates's "The Canal Street Madam"

    Jeanette Maier, the firecracker featured in Cameron Yates's "The Canal Street Madam," is a natural screen presence: The once-powerful overseer of a popular New Orleans brothel, she exudes old fashioned charm while maintaining a seductive aura and a filthy mouth. But she's also defined by the courage...

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    REVIEW | Blossoming "Furniture": Lena Dunham Entertaining Self-Portrait

    On a purely creative level, a movie generally should be absorbed without foreknowledge of its back story, but Lena Dunham's "Tiny Furniture" is defined by it. Dunham's lightly entertaining self-portrait, in which the director plays a version of herself wandering around New York City in post-graduate...

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    REVIEW | Taming the Man-Child: "Barry Munday"

    The story of an aging man-child has been told and retold so many times that it has evolved into a kind of narrative ritual. Witness the phenomena of Seth Rogen and his ilk, a brand exclusively defined for their dopey charm in the face of adult responsibilities, or the series of stubborn lackadaisical men throughout Mike Judge's oeuvre: The character type often works because he remains likable in spite of his archetypical trainwreck routine. Chris D'Arienzo's "Barry Munday" runs this playful stereotype into the ground with its titular crude ladies' man (Patrick Wilson), whose rough wake-up call arrives when he loses both testicles and looks be...

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