Art Show Down (review)
The goofy attitude and quick play is momentarily diverting, but the implied satire on the contemporary art market and artist subculture is one-dimensional, at best.
reviews
Safe Harbour (review)
Who knew that finding “the courage to love again” could be so damn boring?
Finishing the Game (review)
There’s little intriguing or surprising here…
Gone Baby Gone (review)
It’s no rare thing that a film gets buzz for its director. It’s a rare thing when that director has never made a film before. It’s an even rarer thing when the film by that first-timer turns out to be as astonishingly confident and shrewd as actor-turned-director Ben Affleck’s *Gone Baby Gone.*
Reservation Road (review)
Powerful and pitiful performances make this a must-see for fans of stars Joaquin Phoenix and Mark Ruffalo…
Rendition (review)
Okay, maybe it’s a tad too Hollywoodized. Maybe the ending is a tad too upbeat, a tad too facile to be satisfying or even believable in a story based so closely on horrific reality. But maybe that’s okay for the moment.
30 Days of Night (review)
The concept? Brilliant… The execution? Oh, dear.
The Darjeeling Limited (review)
There is an ache to the movies of Wes Anderson, a quiet but bone-deep longing for *feeling.* These movies appear, in their flip quirkiness, to be about people looking for a reason to feel anything at all, but scratch their surfaces just a bit, and it turns out their problem is that they feel too much…
We Own the Night (review)
So drenched in raw, ineffable male anger and love, so perfectly pitched, that it howls with authenticity.
Michael Clayton (review)
You sell out and you sell out and you sell out until you can’t do it anymore. And that’s when things gets interesting.
