|
3.5/4
|
85%
|
Sightseers (2013) |
"
This sardonic depiction of Britain, as a land where a thin veneer of strained politesse and fussy specificity of tastes masks a throbbing heart of darkness, makes for Ben Wheatley's best film yet. "
—
Slant Magazine
Posted May 7, 2013
|
|
3.5/4
|
94%
|
Before Midnight (2013) |
"
These films have always been about the power of words, their ability to bridge gulfs of time and space, the thrill of ideas and opinions taking definitive shape."
—
Slant Magazine
Posted Apr 23, 2013
|
|
|
——
|
Alberi () |
"
More than anything, Alberi is about the essential significance of nature, the way it provides not only the physical necessities for life, but the overarching structure for all its systems and processes. "
—
House Next Door
Posted Apr 23, 2013
|
|
3/4
|
——
|
Lenny Cooke () |
"
An effective bit of human drama, competently, and sometimes movingly, telling a story that deserves to be told."
—
Slant Magazine
Posted Apr 22, 2013
|
|
1.5/4
|
——
|
The Patience Stone (2013) |
"
While Atiq Rahimi's film may peel away the many layers of its female lead like an onion, the end result is still just an onion."
—
Slant Magazine
Posted Apr 17, 2013
|
|
3.5/4
|
92%
|
Jurassic Park: An IMAX 3D Experience (2013) |
"
Now a 20-year-old antique slapped with a superfluous 3D transfer, Jurassic Park still has the power to amaze."
—
Slant Magazine
Posted Apr 2, 2013
|
|
2/4
|
70%
|
Wrong (2013) |
"
It doesn't seem to have any pretensions beyond the regimented unveiling of a parade of odd occurrences, plodding along under the banner of absurdity."
—
Slant Magazine
Posted Mar 25, 2013
|
|
2.5/4
|
79%
|
Reality (2013) |
"
Matteo Garrone has a sure eye for outlandish set pieces that exhibit the expansive outlines of his ideas, but these spectacles are sporadic, and the spaces between them tend to lag."
—
Slant Magazine
Posted Mar 11, 2013
|
|
3.5/4
|
65%
|
The We and the I (2013) |
"
A delirious representation of incipient personalities in bloom, its form as amorphous and reckless as the vibrant youths it portrays."
—
Slant Magazine
Posted Mar 2, 2013
|
|
1.5/4
|
60%
|
Rubberneck (2013) |
"
The film takes on high-concept ideas that it can't sustain, and which only make its other problems more obvious."
—
Slant Magazine
Posted Feb 17, 2013
|
|
—
|
52%
|
This is 40 (2012) |
—
Slant Magazine
Posted Jan 22, 2013
|
|
2.5/4
|
82%
|
Rust and Bone (2012) |
"
It runs a complicated bait and switch on its audience, passing ostensible exploitation fodder through a high-toned prestige filter."
—
Slant Magazine
Posted Nov 16, 2012
|
|
3.5/4
|
81%
|
In Another Country (2013) |
"
Hong Sang-soo hits the beach once again in his latest project, another austerely amusing study of hopeless neurotics making a mockery of leisure."
—
Slant Magazine
Posted Nov 5, 2012
|
|
2/4
|
37%
|
Nobody Walks (2012) |
"
The whole thing comes out feeling kind of featureless, beaten flat by its own sense of fairness. "
—
Slant Magazine
Posted Oct 14, 2012
|
|
3/4
|
95%
|
Sister (2012) |
"
Ursula Meier's film is sustained by a sturdy emotional engine and some intrepidly thoughtful characterization."
—
Slant Magazine
Posted Oct 2, 2012
|
|
2.5/4
|
82%
|
Like Someone in Love (2013) |
"
Plays out as a city-mouse rejoinder to the rustic, open-air daydream of Certified Copy, a snarl of thorny free jazz to that film's graceful aria."
—
Slant Magazine
Posted Oct 1, 2012
|
|
2/4
|
88%
|
Head Games (2012) |
"
While Steve James's doc is persuasive on an informational level, it doesn't do enough to explore the human side of its subject matter."
—
Slant Magazine
Posted Sep 16, 2012
|
|
2/4
|
84%
|
Detropia (2012) |
"
Detropia seems to be looking for answers, but the ones it finds are too close to the surface to be satisfying."
—
Slant Magazine
Posted Sep 2, 2012
|
|
3/4
|
67%
|
Lawless (2012) |
"
Lawless may be full of half-hearted overtures toward depth and emotional complexity, but the film's prestige sheen is mostly a sham; the real focus here is the irrepressible lure of bad behavior. "
—
Slant Magazine
Posted Aug 26, 2012
|
|
2/4
|
55%
|
Beloved (2012) |
"
Ultimately crammed at a frustrating juncture between period-piece froth and seriously conceived drama, never tipping its hand toward either."
—
Slant Magazine
Posted Aug 14, 2012
|
|
4/4
|
100%
|
Almayer's Folly (2012) |
"
Fervently passionate and formally meticulous, the latest stunning coup for a director who's made a career of repurposing archetypal storylines."
—
Slant Magazine
Posted Aug 6, 2012
|
|
3.5/4
|
94%
|
Farewell, My Queen (2012) |
"
Control is the operative element in Benoît Jacquot's work, with the main caveat being that when someone has it, someone else does not."
—
Slant Magazine
Posted Jul 9, 2012
|
|
1.5/4
|
51%
|
Savages (2012) |
"
While his classic hyperbolic visual style is back in force, Stone can't bother to muster any of his usual righteous anger, instead mischanneling his discontent into a kind of zen acceptance of these perpetually tiresome main characters."
—
Slant Magazine
Posted Jul 5, 2012
|
|
—
|
13%
|
The Bounty Hunter (2010) |
—
Slant Magazine
Posted Jun 8, 2012
|
|
3/4
|
91%
|
Safety Not Guaranteed (2012) |
"
More focused on emotion than adventure, it teases out the possibilities and perils of time travel without embroiling itself in the confusion inherent to the subject."
—
Slant Magazine
Posted Jun 4, 2012
|
|
—
|
56%
|
The Wild and Wonderful Whites of West Virginia (2009) |
—
Slant Magazine
Posted May 16, 2012
|
|
—
|
——
|
Virginia (2007) |
—
Slant Magazine
Posted May 15, 2012
|
|
1.5/4
|
4%
|
Virginia (2012) |
"
Unfortunately, there's little sympathy granted to these people, and the revelation of their hidden vices comes across like an increasingly mean series of punchlines. "
—
Slant Magazine
Posted May 14, 2012
|
|
2/4
|
82%
|
Nobody Else But You (2012) |
"
While Nobody Else But You aspires to a kind of French Fargo, it forgets the primary qualities that made that film work."
—
Slant Magazine
Posted May 8, 2012
|
|
2.5/4
|
88%
|
Polisse (2012) |
"
Polisse has been compared to The Wire, but beyond a shared interest in the Sisyphean nature of police work, the two are mostly comparable as inverses of each other"
—
Slant Magazine
Posted Apr 22, 2012
|
|
2/4
|
22%
|
Elles (2012) |
"
Like that opening sex scene, presented just muddily enough to seem both slightly lurid and tastefully grave, Elles comes off as equally simplistic and indistinct. "
—
Slant Magazine
Posted Apr 18, 2012
|
|
3/4
|
89%
|
Whores' Glory (2012) |
"
While the director does make overtures in the wrong directions, he usually seems to know where to steer his material. "
—
Slant Magazine
Posted Apr 16, 2012
|
|
2.5/4
|
97%
|
Monsieur Lazhar (2012) |
"
There's great potential for the kind of issues that are taken on, but nothing is resolved, and the biggest questions, of guilt and shame, the gulf of understanding between the first world and the third, remain unengaged. "
—
Slant Magazine
Posted Apr 8, 2012
|
|
2/4
|
70%
|
The Hunter (2012) |
"
The film refuses to focus on its core story, hedging its bets with forays into family drama, environmental thriller, and corporate intrigue. "
—
Slant Magazine
Posted Mar 28, 2012
|
|
|
——
|
Die Austernprinzessin (My Lady Margarine) (1919) |
"
Beneath its constant comic tangents, The Oyster Princess is also a movie about transition. "
—
House Next Door
Posted Mar 17, 2012
|
|
|
91%
|
Gimme The Loot (2013) |
"
Loose, shaggy, and more than a little rough."
—
House Next Door
Posted Mar 17, 2012
|
|
—
|
——
|
Dollhouse () |
—
House Next Door
Posted Mar 17, 2012
|
|
|
90%
|
Bernie (2012) |
"
Linklater's sense of this place is clearly genuine, and at times it feels like he's using up a lifetime of overheard gems."
—
House Next Door
Posted Mar 15, 2012
|
|
—
|
——
|
Comedy Central Roast of Charlie Sheen () |
—
House Next Door
Posted Mar 13, 2012
|
|
|
——
|
Los Chidos (2013) |
"
While the film positions itself as an attack on Latin American traditions of misogyny and homophobia, any whiff of a reasonable argument is lost in the disordered muddle it stirs up."
—
House Next Door
Posted Mar 12, 2012
|
|
|
46%
|
The Comedy (2012) |
"
The film is continuously in danger of feeling either too cute or too abrasive, but Alverson pulls it off, incorporating a few surprisingly tender scenes in the process."
—
House Next Door
Posted Mar 12, 2012
|
|
3/4
|
86%
|
Sound of Noise (2012) |
"
The film is ultimately winning because of its devilish anarchic streak, aiming its arrows at the stuffiness of the traditional musical establishment. "
—
Slant Magazine
Posted Mar 5, 2012
|
|
—
|
——
|
Sleepwalk () |
—
House Next Door
Posted Mar 3, 2012
|
|
|
——
|
Sleepwalk () |
"
Most visibly, Sleepwalk is a story of inter-textual synchronicity, of ideas and gestures bleeding from one medium to another, from book to film, from film to life, and then back again. "
—
House Next Door
Posted Mar 2, 2012
|
|
2.5/4
|
59%
|
Wanderlust (2012) |
"
Wanderlust may fail as satire, but its absurdist slant and eye for detail sustain it through its cruder passages. "
—
Slant Magazine
Posted Feb 23, 2012
|
|
3/4
|
94%
|
The Secret World of Arrietty (2012) |
"
Plunging below the grass line to capture a miniature world in precise detail, The Secret World of Arrietty offers exactly what its title promises, unveiling this secret milieu through thoroughly meticulous animation."
—
Slant Magazine
Posted Feb 14, 2012
|
|
3.5/4
|
79%
|
The Innkeepers (2012) |
"
Winding up the tension to an almost stubborn degree, Ti West forestalls the inevitable disappointment of its release, a blow that's further softened by how immaculately the whole movie is shot."
—
Slant Magazine
Posted Jan 30, 2012
|
|
3/4
|
79%
|
The Grey (2012) |
"
Joe Carnahan's film largely works, building toward a great ending, which functions as one of the best, truest action climaxes in recent memory."
—
Slant Magazine
Posted Jan 23, 2012
|
|
2/4
|
39%
|
Red Tails (2012) |
"
Where Spielberg has made WWII a venue for his sanctimonious side, a platform to convince viewers that war is indeed hell, Lucas is still in a state of pre-adolescent fascination with the conflict. "
—
Slant Magazine
Posted Jan 20, 2012
|
43%
46%
95%
99%
65%
61%
