|
A
|
94%
|
Sleepless Night (2012) |
"
Despite the ongoing momentum, Sleepless Night never loses touch with its story."
—
indieWIRE
Posted Apr 25, 2012
|
|
A
|
95%
|
The Arbor (2011) |
"
Documentaries often toy with the conventions of non-fiction storytelling to the detriment of their content, but Clio Barnard's innovative The Arbor provides a welcome exception to the norm."
—
indieWIRE
Posted Jan 5, 2012
|
|
A
|
99%
|
A Separation (2011) |
"
Farhadi's true focus is the flawed capacity for any law -- any form of cold rationality, period -- to address the slippery nature of human affairs. It's a frantic microcosm of life itself."
—
indieWIRE
Posted Jan 4, 2012
|
|
A
|
76%
|
Bombay Beach (2011) |
"
Har'el's work contains an otherworldly dimension not unlike [Terry] Gilliam's oeuvre -- both dreamlike and intimately familiar."
—
indieWIRE
Posted Oct 13, 2011
|
|
A
|
77%
|
Melancholia (2011) |
"
Melancholia hovers in ambiguity with riveting aesthetic prowess."
—
indieWIRE
Posted Oct 6, 2011
|
|
A-
|
100%
|
Your Sister's Sister (2012) |
"
Shelton's skill involves an ability to explore familiar situations with a flair for ambiguity, but plenty of payoff."
—
indieWIRE
Posted Apr 25, 2012
|
|
A-
|
96%
|
Monsieur Lazhar (2012) |
"
[An] intelligent but generally cheery comedy."
—
indieWIRE
Posted Apr 11, 2012
|
|
A-
|
——
|
Your Brother. Remember? (2012) |
"
Beneath its ridiculous exterior, Oberzan's highly personal video essay struggles with the connection between entertainment and life, grasping for the conclusion that they're ultimately indistinguishable."
—
indieWIRE
Posted Apr 4, 2012
|
|
A-
|
83%
|
The Raid: Redemption (2012) |
"
The Raid confronts the nature of movie violence and comes to grim conclusions, but it also makes peace with the inherent appeal of the genre."
—
indieWIRE
Posted Mar 21, 2012
|
|
A-
|
93%
|
Once Upon a Time in Anatolia (2012) |
"
As a procedural, Once Upon a Time in Anatolia implicates the audience along with its characters and the mental workout continues long after the credits roll."
—
indieWIRE
Posted Jan 5, 2012
|
|
A-
|
83%
|
Tinker Tailor Soldier Spy (2011) |
"
Oldman's solemn, fixed expression registers a tremendous degree of complexity, especially in light of his character's trained ability to remain withdrawn."
—
indieWIRE
Posted Dec 8, 2011
|
|
A-
|
99%
|
Le Havre (2011) |
"
Pitting that grandiose takeaway with the director's intentionally over-the-top stylistic dalliances, Le Havre maintains a fresh balance that never falters."
—
indieWIRE
Posted Oct 18, 2011
|
|
A-
|
90%
|
Martha Marcy May Marlene (2011) |
"
Marked by patient long-takes and the uneasy quietude that accompanies Martha's constant disconnect from her surrounding environment, Martha derives much of its power from a stark visual style that's easily readable as the sum of its part."
—
indieWIRE
Posted Oct 17, 2011
|
|
A-
|
94%
|
Weekend (2011) |
"
The film operates on a familiar dynamic; however, it works here thanks to the precise alignment of talented actors and a focused screenplay."
—
indieWIRE
Posted Sep 20, 2011
|
|
A-
|
85%
|
The Tree of Life (2011) |
"
More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures."
—
indieWIRE
Posted May 24, 2011
|
|
A-
|
82%
|
Tyrannosaur (2011) |
"
Considine announces his directorial vision with a morbid character piece sustained by two remarkably intense performances."
—
indieWIRE
Posted Mar 24, 2011
|
|
3.5/4
|
83%
|
Tropic Thunder (2008) |
"
This one could have the subtitle How I Learned to Stop Worrying and Love the Blockbuster."
—
Premiere Magazine
Posted Aug 11, 2008
|
|
B+
|
100%
|
The Day He Arrives (2012) |
"
...maintains a funny and sad focus on its single petulant subject."
—
indieWIRE
Posted Apr 16, 2012
|
|
B+
|
89%
|
Post Mortem (2012) |
"
A chilling exploration of the 1973 Pinochet coup soaked in metaphor but rooted in dreadful fact."
—
indieWIRE
Posted Apr 10, 2012
|
|
B+
|
82%
|
Natural Selection (2012) |
"
Stay tuned, however, for more from up-and-comer Pickering. The movie firmly puts him on the map."
—
indieWIRE
Posted Mar 14, 2012
|
|
B+
|
100%
|
Sleepwalk With Me (2012) |
"
This storytelling isn't particularly intriguing, but Birbiglia's charisma carries them with a personable brand of self-deprecation."
—
indieWIRE
Posted Jan 30, 2012
|
|
B+
|
91%
|
Corman's World: Exploits Of A Hollywood Rebel (2011) |
"
The movie delivers a compelling argument for appreciating the filmmaker as a major artist who's both largely responsible for many mainstream Hollywood cinema trends while somehow remaining superior to them."
—
indieWIRE
Posted Dec 22, 2011
|
|
B+
|
55%
|
In the Land of Blood and Honey (2011) |
"
Breaks no fresh ground in the tradition of staid, grim war dramas from which it hails, but Jolie successfully capitalizes on a juicy premise."
—
indieWIRE
Posted Dec 20, 2011
|
|
B+
|
98%
|
The Artist (2011) |
"
The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke."
—
indieWIRE
Posted Nov 23, 2011
|
|
B+
|
77%
|
The Innkeepers (2012) |
"
[An] offbeat ghost story."
—
indieWIRE
Posted Nov 2, 2011
|
|
B+
|
44%
|
The Catechism Cataclysm (2011) |
"
It's essentially a hilariously brazen lark, which is reason enough to embrace it."
—
indieWIRE
Posted Oct 17, 2011
|
|
B+
|
85%
|
The Ides of March (2011) |
"
With the constant backroom arguing and threats of media scrutiny, the plot plays out like political intrigue on autopilot; it shouldn't work as well as it does. The greatest credit goes to a widely agreeable set of performances. "
—
indieWIRE
Posted Oct 5, 2011
|
|
B+
|
95%
|
Moneyball (2011) |
"
How do you make equations into compelling drama? Answer: You ignore them and go on with the show."
—
indieWIRE
Posted Sep 14, 2011
|
|
B+
|
72%
|
Bellflower (2011) |
"
Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one."
—
indieWIRE
Posted Aug 2, 2011
|
|
B+
|
72%
|
The Future (2011) |
"
With a delectable Jon Brion soundtrack guiding the proceedings, the movie adopts a familiar bittersweetness, but otherwise takes on a highly original tone."
—
indieWIRE
Posted Jul 25, 2011
|
|
B+
|
83%
|
The Double Hour (2011) |
"
A remarkably fluid detective story."
—
indieWIRE
Posted Jun 2, 2011
|
|
B+
|
73%
|
Like Crazy (2011) |
"
They share an indelible and entirely realistic chemistry, even though the plot meanders along, occasionally becoming repetitive and predictable as their connection begins to fray. Doremus handles the ensuing drama well enough."
—
indieWIRE
Posted May 23, 2011
|
|
|
62%
|
Salt (2010) |
"
A more swiftly assembled spy thriller than anything since 'The Bourne Ultimatum.'"
—
indieWIRE
Posted Jul 23, 2010
|
|
|
69%
|
Life During Wartime (2010) |
"
Solondz may not have softened with age, but his creations have undoubtedly grown wiser because of it. "
—
indieWIRE
Posted Jul 20, 2010
|
|
|
79%
|
Orlando (1992) |
"
Eighteen years after its initial theatrical release, "Orlando" returns to theaters with all of its original allure intact, and then some."
—
indieWIRE
Posted Jul 20, 2010
|
|
|
81%
|
Countdown to Zero (2010) |
"
Thankfully, Walker rarely depends on superficial fear-mongering to deliver the message. Her tactics for generating tension are mainly empirical."
—
indieWIRE
Posted Jul 20, 2010
|
|
|
91%
|
Winnebago Man (2010) |
"
Brilliantly encapsulates the transformative power of the online video boom."
—
indieWIRE
Posted Jul 14, 2010
|
|
|
85%
|
Kisses (2010) |
"
The immediate sympathy evoked by Dylan (Shane Curry) and Kylie (Kelly O'Neill) creates a lasting impact solely with the sorrow and confusion that crosses their faces."
—
indieWIRE
Posted Jul 12, 2010
|
|
|
71%
|
Valhalla Rising (2010) |
"
To dismiss Refn's repetitive approach as tedious would miss the poetic undulations of his elegantly minimalist exercise."
—
indieWIRE
Posted Jul 12, 2010
|
|
|
86%
|
Inception (2010) |
"
Nobody can deny that Christopher Nolan's "Inception" is a thinking man's blockbuster. "
—
indieWIRE
Posted Jul 12, 2010
|
|
|
76%
|
Let it Rain (Parlez-moi de la pluie) (2010) |
"
Refreshingly (for American audiences, anyway), everyone in "Let It Rain" has genuinely good intentions."
—
indieWIRE
Posted Jun 23, 2010
|
|
|
55%
|
The Killer Inside Me (2010) |
"
" A surprisingly patient, observational portrait of insanity.""
—
indieWIRE
Posted Jun 23, 2010
|
|
|
80%
|
I Am Love (2010) |
"
"Depicts the events at hand with bold cinematic flourishes, resulting in a movie specifically attuned to the powers of the medium"."
—
indieWIRE
Posted Jun 23, 2010
|
|
|
92%
|
Dogtooth (Kynodontas) (2010) |
"
Few movies convey such a deeply unnerving atmosphere in nearly every scene while simultaneously capitalizing on an absurd black comic sensibility. "
—
indieWIRE
Posted Jun 23, 2010
|
|
|
85%
|
The Square (2010) |
"
Edgerton's commitment to precise cinematic language provides a reminder that movies don't have to be reinvented to simply work like gangbusters."
—
indieWIRE
Posted Apr 8, 2010
|
|
|
86%
|
The House of the Devil (2009) |
"
The classical structure slowly builds tension before erupting into a decisively gory finish, harkening back to a smarter and more nuanced era of spooky storytelling."
—
indieWIRE
Posted Oct 26, 2009
|
|
|
91%
|
Up in the Air (2009) |
"
Populated by a handful of assured performances, Up in the Air is first and foremost an actor's movie."
—
indieWIRE
Posted Sep 15, 2009
|
|
|
84%
|
Earth Days (2009) |
"
That Earth Days follows a simple routine in its construction does not detract from the beauty of its earnest design."
—
New York Press
Posted Aug 12, 2009
|
|
|
95%
|
The Cove (2009) |
"
It's both an educational work of art and a classic espionage tale."
—
indieWIRE
Posted Jul 29, 2009
|
|
|
85%
|
The White Ribbon (Das weisse Band) (2009) |
"
A frightening depiction of mortality."
—
indieWIRE
Posted May 22, 2009
|
62%
——
97%
