|
2/4
|
50%
|
He's Way More Famous Than You (2013) |
"
It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly."
—
Slant Magazine
Posted May 9, 2013
|
|
.5/4
|
75%
|
Desperate Acts Of Magic (2013) |
"
It gives off the alienating feel of an inside joke that you miss in the off chance you're not part of the professional magic business."
—
Slant Magazine
Posted May 1, 2013
|
|
3/4
|
100%
|
Trash Dance (2013) |
"
In Andrew Garrison's film, choreographer Allison Orr turns garbage collectors and their trucks into modern-dance performers."
—
Slant Magazine
Posted Apr 25, 2013
|
|
2.5/4
|
62%
|
Paradise: Love (2013) |
"
It often seems more intent on spelling out its awareness of the politics involved than in lingering on the aching human engaged in the libidinal transactions."
—
Slant Magazine
Posted Apr 23, 2013
|
|
2.5/4
|
0%
|
Lotus Eaters (2013) |
"
The free spirit-ness of its characters is certainly mirrored in the film's aesthetic playfulness, but the initial glimmer of Fassbinder-esque expression quickly veers toward Xavier Dolan-grade affectation."
—
Slant Magazine
Posted Apr 2, 2013
|
|
2/4
|
73%
|
Violeta Went to Heaven (2013) |
"
Suffers from an overtly conventional way of depicting the life events of an anything-but-conventional woman, a lazy flaw further highlighted by its brief moments of visual experimentation."
—
Slant Magazine
Posted Mar 29, 2013
|
|
2/4
|
15%
|
Dorfman in Love (2013) |
"
The film's moral lesson is too contradictory to be taken seriously. "
—
Slant Magazine
Posted Mar 21, 2013
|
|
3.5/4
|
50%
|
Clip (2013) |
"
A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court."
—
Slant Magazine
Posted Mar 15, 2013
|
|
2.5/4
|
100%
|
Downeast (2013) |
"
An exposé of how the financial structures that make businesses possible in America seem to conspire against genuine good will and non-self-serving ambition."
—
Slant Magazine
Posted Mar 9, 2013
|
|
0/4
|
13%
|
Day of the Falcon (2013) |
"
There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance."
—
Slant Magazine
Posted Feb 28, 2013
|
|
3/4
|
88%
|
Yossi (2013) |
"
The film is at its finest as a catalogue of Yossi's unspoken ache, less so when it begins to flirt with the clichés of the love story."
—
Slant Magazine
Posted Jan 24, 2013
|
|
2/4
|
29%
|
Let My People Go! (2013) |
"
Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly. "
—
Slant Magazine
Posted Jan 9, 2013
|
|
3/4
|
77%
|
Any Day Now (2012) |
"
Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family."
—
Slant Magazine
Posted Dec 12, 2012
|
|
1/4
|
50%
|
In Our Nature (2012) |
"
In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity. "
—
Slant Magazine
Posted Dec 7, 2012
|
|
.5/4
|
75%
|
King Kelly (2012) |
"
The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist."
—
Slant Magazine
Posted Nov 28, 2012
|
|
2.5/4
|
56%
|
Walk Away Renee (2012) |
"
It's Jonathan Caouette's insistence in going back to his nightmarish old footage, or the old footage that he purposefully renders nightmarish, that seems more interesting."
—
Slant Magazine
Posted Nov 27, 2012
|
|
2/4
|
44%
|
Habibi Rasak Kharban (Habibi) (2012) |
"
Susan Youssef isn't consistent in her approach to the impossibility of love. "
—
Slant Magazine
Posted Nov 14, 2012
|
|
2.5/4
|
88%
|
Starlet (2012) |
"
The film works as a charming aesthetic exercise with its jerky camera and inadvertent cuts, as a contemplation on intergenerational female bonding."
—
Slant Magazine
Posted Nov 6, 2012
|
|
1/4
|
31%
|
A Man's Story (2012) |
"
The doc does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality."
—
Slant Magazine
Posted Oct 30, 2012
|
|
2/4
|
50%
|
Sassy Pants (2012) |
"
Sassy Pants has a slightly ludic atmosphere akin to another tale of teen alienation, Dear Lemon Lima, but it unfolds like a fable in which only Bethany doesn't feel like a canned caricature. "
—
Slant Magazine
Posted Oct 18, 2012
|
|
3/4
|
64%
|
My Worst Nightmare (2012) |
"
The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter."
—
Slant Magazine
Posted Oct 17, 2012
|
|
1.5/4
|
86%
|
The Iran Job (2012) |
"
Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film."
—
Slant Magazine
Posted Oct 12, 2012
|
|
3/4
|
53%
|
Simon and the Oaks (2012) |
"
The film is at its best when it lingers on intimacy and the characters' incompetency to manage it."
—
Slant Magazine
Posted Oct 10, 2012
|
|
1/4
|
58%
|
Bel Borba Aqui (2012) |
"
There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced."
—
Slant Magazine
Posted Oct 1, 2012
|
|
1/4
|
——
|
BearCity 2: The Proposal (2012) |
"
The film is often too cheesy to, well, bear."
—
Slant Magazine
Posted Sep 27, 2012
|
|
3.5/4
|
94%
|
Diana Vreeland: The Eye Has To Travel (2012) |
"
The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work. "
—
Slant Magazine
Posted Sep 21, 2012
|
|
.5/4
|
37%
|
The Brooklyn Brothers Beat The Best (2012) |
"
Do we really need another film about underachieving white men with scruffy beards? Ryan O'Nan thinks so."
—
Slant Magazine
Posted Sep 20, 2012
|
|
3/4
|
96%
|
Port of Shadows (Le Quai des Brumes) (2012) |
"
We empathize with their resistance to suffer, but it's hard to feel something other than philosophical respect for characters who think of swimmers as soon-to-be drowned men. "
—
Slant Magazine
Posted Sep 13, 2012
|
|
2.5/4
|
75%
|
Green (2012) |
"
The mumblecore dialogue can be annoying, but along with the excellent score, it actually serves this tense haziness well."
—
Slant Magazine
Posted Sep 6, 2012
|
|
1.5/4
|
54%
|
The Inbetweeners (2012) |
"
Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong. "
—
Slant Magazine
Posted Sep 4, 2012
|
|
1/4
|
20%
|
Craigslist Joe (2012) |
"
As hard as he tries, we never truly believe there's a lot at stake for Garner, who seems to cruise through America like a gringo taking a favela tour in Rio."
—
Slant Magazine
Posted Jul 29, 2012
|
|
1/4
|
5%
|
30 Beats (2012) |
"
While it lends itself to some interesting insight on the politics of non-exclusive, ****-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience."
—
Slant Magazine
Posted Jul 19, 2012
|
|
3/4
|
——
|
The Woman in the Septic Tank (2012) |
"
A lighthearted critique on the fetishized notion of the "non-actor," the ethics (or lack thereof) of the "docudrama," and the packaging of national despair for export. "
—
Slant Magazine
Posted May 23, 2012
|
|
1/4
|
22%
|
The Samaritan (2012) |
"
It packs its narrative with a succession of increasingly clichéd twists, one of which involves the sudden recognition that its main character, Foley (Samuel L. Jackson), is romantically involved with his own daughter."
—
Slant Magazine
Posted May 19, 2012
|
|
3.5/4
|
95%
|
Bonsái (2012) |
"
Cristián Jiménez's film knows how entangled the will to know is with the will to make love."
—
Slant Magazine
Posted May 8, 2012
|
|
1/4
|
48%
|
The Perfect Family (2012) |
"
An anodyne tale of family-centered acceptance that's neither comical when it wants to be nor touching when it strivers for pathos."
—
Slant Magazine
Posted May 3, 2012
|
|
2/4
|
50%
|
Joffrey: Mavericks of American Dance (2012) |
"
While the doc offers us a story that needs to be told, it does so in very non-Joffrey ways. "
—
Slant Magazine
Posted Apr 25, 2012
|
|
3.5/4
|
80%
|
Jean Gentil (2012) |
"
Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety."
—
Slant Magazine
Posted Apr 21, 2012
|
|
2.5/4
|
63%
|
Going Down In La-la Land (2012) |
"
The film can feel both refreshingly honest and embarrassingly Lifetime movie-like. "
—
Slant Magazine
Posted Apr 18, 2012
|
|
3/4
|
——
|
Kids of Töday (2012) |
"
All the Skyping, Facebooking, and Googling are, ultimately, tools for animated philosophical conversations about dissemination theory, intellectual affectation, and post-punk identity."
—
Slant Magazine
Posted Apr 13, 2012
|
|
.5/4
|
26%
|
L!fe Happens (2012) |
"
L!fe Happens wants us to believe its message is one of female independence and empowerment."
—
Slant Magazine
Posted Apr 12, 2012
|
|
|
——
|
Artificial Paradises (2012) |
"
It knows not to reveal much, to show only what it sees, and yet it manages to suggest very well the severity and urgency of the abyss that always lies beneath the surface."
—
Slant Magazine
Posted Mar 29, 2012
|
|
3/4
|
28%
|
We the Party (2012) |
"
While We the Party can be insensitive, or blind, to the misogyny and homophobia of the general culture (the token gay teen is a finger-snapping, head-bobbing fashionista), it takes the issues of race and class quite seriously."
—
Slant Magazine
Posted Mar 29, 2012
|
|
1/4
|
——
|
Come on Eileen (2012) |
"
Rarely leaves the realm of the obvious and the literal. "
—
Slant Magazine
Posted Mar 22, 2012
|
|
3/4
|
100%
|
The Wise Kids (2012) |
"
Hovering over the narrative is the fear of the domino effect that change can enact, the dread that one person's "queerness" may perhaps expose everyone else's."
—
Slant Magazine
Posted Mar 15, 2012
|
|
0/4
|
44%
|
Casa de mi padre (2012) |
"
This is one of those nasty little films that tries very hard to obscure its misogynist and racist premise through pseudo political critique."
—
Slant Magazine
Posted Mar 12, 2012
|
|
2/4
|
67%
|
The Ballad of Genesis and Lady Jaye (2012) |
"
The Ballad of Genesis and Lady Jaye tries so hard to keep up with the quirkiness and theatricality of its subjects that it ends up canceling them out."
—
Slant Magazine
Posted Mar 7, 2012
|
|
—
|
71%
|
Lundi matin (Monday Morning) (2002) |
—
Slant Magazine
Posted Mar 2, 2012
|
|
.5/4
|
——
|
Monday Morning (2012) |
"
When will independent filmmakers understand that formulaic film style can only spoil the non-traditional subject matter of their films? "
—
Slant Magazine
Posted Feb 28, 2012
|
78%
——
——
85%
45%
40%
