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With their intimate and compelling look at several powerful women in what is still the man’s world of high finance, Xan Parker and Elizabeth Holder demonstrate that even when discrimination isn’t holding women back, their own specially female fears and concerns do a fine job of competing with their drive and ambition. For these four … more…
How often must we hear the same story over and over again before someone in a position to do something about it starts to listen? Oscar-nominated documentarian Liz Garbus relates a familiar tale — of horrible sexual abuse and parental neglect and indifference from the justice system — with a shocking, powerful intimacy that’s a … more…
If I ever worried that there might be something, you know, wrong with me and my passion for movies, I can now rest easy. Because this funny, sad film — by Angela Christlieb and Stephen Kijak — assures me that I am nothing but the greenest amateur compared to the cinemaniacs profiled here. Jack, Eric, … more…
In 1992, Brit Nick Broomfield’s Aileen Wuornos: The Selling of a Serial Killer documented how the sensational media coverage of the woman who was supposedly America’s first female serial killer may have compromised her defense, how nearly everyone around her, from her mother to the police, was more interested in selling their stories to the … more…
A brief and sweet slice of New York City street life, with whipped cream on top, from filmmaker Eva Saks. A little girl, Amanda (Blaire Restaneo), having agonized over a bake shop full of delectable goodies, carries her treat proudly as she walks with her mother (Orlagh Cassidy) near Central Park, jealously protecting the confection. … more…
Cane toads are an object lesson in not fooling with Mother Nature: Introduced into Australia in the hopes that they’d eat a pesky beetle that was destroying sugar cane crops, the toads instead became pests themselves. Now, David Clayton and Andrew Silke’s deliciously sick and twisted animated film gives these much maligned critters a voice … more…
So there are these passive little ragamuffin children hanging around in the beginning of *The Order,* not doing much, just sorta *there* and not being particularly scary or interesting or anything — which is a good general description of *The Order* as a whole — and all of a sudden, for no reason except that the script said for him to do this then, Heath Ledger decides to whip out his big…
These kids today — I don’t understand them. I mean, when I was in high school, kids got picked on. There were weirdoes that no one wanted to hang out with, freaks that everyone made fun of. There was taunting and teasing and ostracizing galore. And surely there were just as many guns around in the 1980s, when I was in high school, as there are today, less than 20 years later. So what’s so different that kids are suddenly killing each other over things we shrugged off when I was a kid?
Well, what did you expect? Put together a team designed not to make a good film but to make for good reality-TV ratings, and this is what you get. *The Battle of Shaker Heights* is a neither-here-nor-there mess that plays like everybody involved was more interested in playing games of oneupsmanship — hey, she got better perqs than we did! — and acting like bigshot Hollywood players than in actually doing the job they were ostensibly hired to do.
Four high school buddies go to college, and all of a sudden everything’s changed. Nitz (the normal one), Cal (the gay one), Gimpy (the geek), and Rocko (the meatball) suddenly find themselves dealing with frat rushes, making new friends, trying to get laid, living away from home for the first time, and all the attendant … more…
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