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Review

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    Tribeca Review: 'Persepolis' Follow-Up 'Chicken With Plums' Is Amiable & Pretty, But Twee & Thin

    It can be difficult to shift from animation to live-action direction; the processes are very different, and even an accomplished animation helmer can sometimes be undone once they're faced with cameras, actors and the breakneck schedule of a feature film shoot, as opposed to the multi-year process t...

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    Tribeca Review: The Deeply Insufferable 'Giant Mechanical Man' Is Quintessential Indie Film Hell

    There’s a special sort of Hell where films like “The Giant Mechanical Man” play, with the same ideas and tropes repeated around the clock, with the mistaken assumption that they’re endearing or, even worse, adorable. It’s the sort of picture that gives independent films a bad name, the type of film ...

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    Tribeca Review: 'Alekesam' Feels Less Like A Short Doc And More Like An Overlong Album Promo For Sal Masekela

    At 35 minutes, "Alekesam" is a short documentary with a subject that could probably fill a Ken Burns-style PBS miniseries, full of political unrest, social uprisings, and jazz music: Hugh Masekela, a musician and activist who fought against apartheid (he was exiled from South Africa for more than 30...

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    Tribeca Review: ESPN Doc ‘Benji’ Is A Tragic Portrait Of Promising Hoop Dreams Unfulfilled

    Something that all hardcore sports fans, but cinephiles may not be fully aware of: ESPN’s “30 For 30” series of documentaries on various touchstone moments in sports history are all by and large, riveting and dramatic pieces of work worth watching regardless if you’re a sports fan are not. While tha...

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    SFIFF Review: 'The Fourth Dimension' A Mostly Humorous Collection Of Shorts With Harmony Korine's Most Comically Focused Effort To Date

    Last Friday night, the San Francisco International Film Festival hosted the world premiere of “The Fourth Dimension,” a production born out of a partnership between Vice Films and Grolsch Film Works.

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    Tribeca Review: 'Freaky Deaky' Is A 1970s-Set Farce Where The Afros Outnumber The Laughs

    Just when you thought filmmakers had milked every gag possible from setting a movie in the 1970s, along comes writer/director Charles Matthau to prove that theory correct in the moribund Elmore Leonard adaptation “Freaky Deaky.” Though the source material takes place in 1988, Matthau hea...

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    Tribeca Review: 'Rubberneck' Is A True Crime Tale That's Truly Dull

    Chances are, if the movie doesn't feature a dolphin with a prosthetic tail on the poster, and it carries "inspired by true events" disclaimer, then it's going to be something about murder, mayhem, or the decades-long search for the Zodiac killer. So by announcing that your movie is inspired by true ...

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    Tribeca Review: 'Francophrenia' A Fascinating Doc/Fiction Profile Of James Franco As James Franco

    James Franco's ongoing experimentation with the limits of his own celebrity are like little else popular culture has produced of late. While his hijinks within academia and beyond are well documented (he's working on a Film MFA at NYU and an English PhD from Yale, while being a movie st...

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    Tribeca Review: 'Sleepless Night' A Deceptively Simple Thriller That Packs A Punch

    Containment thrillers can often be limited by the landscape of their locale, but in the French film “Sleepless Night,” the nightclub where corrupt cop Vincent (Tomer Sisley) races to rescue his son is expansive enough to make it seem like a mini-mall. Writer-director Frederic Jardin some...

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    Tribeca Review: Sarah Polley's 'Take This Waltz' Has Insights And Edges Sharp Enough To Stab

    In Sarah Polley's Toronto-set drama "Take this Waltz," Margo (Michelle Williams) stumbles across Daniel (Luke Kirby) on a business trip, only to find he lives across the street; despite being married to Lou (Seth Rogen), Margo can't stop thinking of Daniel. Or maybe it's becaus...

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