|
98%
|
Wings of Desire (1987)
|
"And even when sadness isn't equalized by its opposite, even when no light pierces the fog, even when all there is is gloomy, abiding melancholy, well, at least it's in Technicolor."
|
John Semley
|
|
40%
|
The Great Outdoors (1988)
|
"Like a family holiday, like a family, The Great Outdoors is far from perfect, but we like it as it is--perhaps not a great film, but certainly a good-enough movie."
|
John Semley
|
|
56%
|
Waxwork (1988)
|
"Waxwork is certainly no hidden horror gem, but its flashes of wit and genuine enthusiasm for the horror genre are enough to make it a reasonably enjoyable time."
|
Kenji Fujishima
|
|
13%
|
Poltergeist III ()
|
"At its worst, well, it's just another soulless, hacky-tacky horror sequel. "
|
Eric Henderson
|
|
31%
|
Big Business (1988)
|
"It may be Midler's ultimate vehicle, allowing the actress to wildly embrace her talent for both shrill bombast and that sensitive eagerness for life and pleasure that stoked her career-making performance in The Rose."
|
Michał Oleszczyk
|
|
——
|
Call Me (1988)
|
"My response of "won't that sting?!" would have resulted in Anna hanging up on me, too, but I digress. "
|
Odie Henderson
|
|
0%
|
The Brotherhood of Satan (1971)
|
"An intermittently effective exercise in post-Rosemary's Baby satanic panic, combined with some elements of dime-store surrealism."
|
Budd Wilkins
|
|
38%
|
Mr. Sardonicus (2002)
|
"Stands (alongside The Tingler, I would argue) as one of William Castle's strongest, most memorable efforts."
|
Budd Wilkins
|
|
12%
|
Crocodile Dundee II (1988)
|
"The sequel exacerbates problems already too evident in the first movie, most painfully the near-total disposability of Kozlowski's Sue, who spends most of the time reacting to Mick's quirks with chuckles. "
|
Michał Oleszczyk
|
|
50%
|
Willow (1988)
|
"I don't doubt that George Lucas believes in his stories."
|
Ted Pigeon
|
|
100%
|
Short Term 12 ()
|
"Perhaps the most promising thing about Cretton, though, at least going by this one feature film under his belt, is his generosity of vision and the refreshingly wide emotional range that vision admits."
|
Kenji Fujishima
|
|
24%
|
Friday the 13th Part VII - The New Blood (1988)
|
"In the end, what's the point, especially when, in the case of The New Blood, there isn't a whole heck of a lot in the way of human interest or wit to compensate for the lack of viscera?"
|
Kenji Fujishima
|
|
——
|
Tepenin ardi (Beyond the Hill) ()
|
|
Veronika Ferdman
|
|
——
|
Night of the Hunted (1999)
|
"The most recent Jean Rollin films to make their Blu-ray debut from Kino and Redemption Films mark a significant departure for the filmmaker."
|
Budd Wilkins
|
|
——
|
The Grapes of Death (2004)
|
"The most recent Jean Rollin films to make their Blu-ray debut from Kino and Redemption Films mark a significant departure for the filmmaker."
|
Budd Wilkins
|
|
——
|
Róza (Rose) ()
|
"Wojciech Smarzowski's film is at times so brutal that its more tender touches can startle. "
|
Ela Bittencourt
|
|
——
|
The Machine ()
|
"After a disappointingly conventional action-movie climax, James sucker-punches us with a final scene that ends the film on a tantalizingly ironic note."
|
Kenji Fujishima
|
|
——
|
Run & Jump ()
|
"Steph Green has crafted a debut as fresh, intimate, and compassionate as Lynne Ramsay's Ratcatcher in 1999."
|
Ashley Clark
|
|
——
|
Deep Powder ()
|
"The end result, though well-intentioned and hardly disastrous, doesn't hit as hard as it should, even if it does bear merit as a solemn comment on America's intractable, if rarely acknowledged, class system. "
|
Ashley Clark
|
|
——
|
A Case Of You ()
|
"A Case of You is a frustrating case of a great opportunity blown."
|
Kenji Fujishima
|
|
——
|
Adult World ()
|
"Adult World doesn't quite fit the bill of a dark comedy, as it's neither uproariously funny nor does it carry much dramatic import."
|
Zeba Blay
|
|
——
|
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. "
|
Jesse Cataldo
|
|
100%
|
Don Jon (2013)
|
"Joseph Gordon-Levitt's first feature is an uneasy mix of broad comedy and earnest message-mongering that tries too hard at both to succeed at either one. "
|
Elise Nakhnikian
|
|
——
|
Getting Back To Abnormal ()
|
"Conducts a tour of the racial politics of New Orleans that's as meandering and culturally rich as a second line parade."
|
Elise Nakhnikian
|
|
100%
|
Short Term 12 (2013)
|
"Perhaps the most promising thing about Cretton, though, at least going by this one feature film under his belt, is his generosity of vision and the refreshingly wide emotional range that vision admits."
|
Kenji Fujishima
|
|
——
|
Cheap Thrills ()
|
"There's something deeply problematic about a film that seems to lavish so much creative glee in so thoroughly and gruesomely degrading its protagonists, and to no particularly revelatory ends."
|
Kenji Fujishima
|
|
——
|
Before You Know It ()
|
"An exemplary example of a documentary that successfully puts human faces on wider issues, eschewing polemics in favor of the personal."
|
Kenji Fujishima
|
|
——
|
Downloaded (2013)
|
"Alex Winter knows he has a great and timely subject and, for the most part, allows these people and the larger story to speak for themselves."
|
Kenji Fujishima
|
|
——
|
Loves Her Gun ()
|
"This is Marslett's first live-action film (his SXSW 2010 favorite, Mars, was animated), and it's a promising start."
|
Elise Nakhnikian
|
|
——
|
Swim Little Fish Swim ()
|
"What comes through strongest is its Woody Allen-esque treatment of Brooklyn, complete with golden light, beautiful young women, glamorous locations and plenty of appealingly tortured--or insufferably neurotic, depending on your point of view--artists."
|
Elise Nakhnikian
|
|
——
|
Computer Chess (2013)
|
"That random quality and the deadpan awkwardness of the main characters gives the whole thing a comic quality, but Computer Chess is sneakily observant and surprisingly resonant."
|
Elise Nakhnikian
|
|
65%
|
Spring Breakers (2013)
|
"Where else are you going to hear, for instance, "spring break" transformed into a whispery incantation, alternately celebratory and weighted with doom?"
|
Kenji Fujishima
|
|
——
|
Museum Hours (2013)
|
"Cohen may risk presumptuousness with the implicit Bruegel comparisons, but damned if the best parts of Museum Hours don't match one of his canvases in scope, detail, and profundity."
|
Kenji Fujishima
|
|
100%
|
The Act Of Killing (2013)
|
"The Act of Killing is about the horrific past that warped and still rules Indonesia's present, but it's also about the stories we all construct so we can live with ourselves. "
|
Elise Nakhnikian
|
|
99%
|
Mud (2013)
|
"Mud's lively sense of humor sometimes milks laughs from movie conventions that might otherwise seem hackneyed. "
|
Oscar Moralde
|
|
98%
|
Before Midnight (2013)
|
"Linklater anatomizes Celine and Jesse at nine-year intervals, at ages 23, 32, and 41, and like all of his best movies, this one is a torrent of talk poured out in a scant handful of locations. "
|
Elise Nakhnikian
|
|
——
|
Drinking Buddies (2013)
|
"Drinking Buddies plays as a kind of comic tap dance at the edge of an adulterous abyss"
|
Kenji Fujishima
|
|
77%
|
Prince Avalanche (2013)
|
"For those who were somehow waiting for the artistic apotheosis of the bromance, Prince Avalanche is it, for better and for worse."
|
Kenji Fujishima
|
|
87%
|
V/H/S/2 (2013)
|
"What happened to S-VHS, the original title of V/H/S/2? The name change only helps to underscore the general lack of imagination on display this time around. "
|
Kenji Fujishima
|
|
37%
|
The Incredible Burt Wonderstone (2013)
|
"Filled with all sorts of misanthropic grace notes that suggest equal-opportunity contempt toward just about everyone involved."
|
Kenji Fujishima
|
|
67%
|
Manhunt ()
|
"One of Barker's goals for the film was to show that killing Bin Laden was an enormous accomplishment, but it's not the answer to preventing more terrorist attacks like 9/11. "
|
Gabrielle Lipton
|
|
100%
|
Cutie And The Boxer (2013)
|
"After 40 years together, Ushio and Noriko don't need to say that much, and through nearly two years of filming, Heinzerling was able to capture this unsaid rapport."
|
Gabrielle Lipton
|
|
96%
|
Stories We Tell (2013)
|
"Like a well-planned treasure hunt, the film is a map of twists that gives clues but no answers, until Sarah Polley decides the audience has earned them."
|
Gabrielle Lipton
|
|
100%
|
Village At The End Of The World ()
|
"Gavron and Katznelson's vision of a film about the ice melting turned into an ineffable piece about a place where time froze, and it's hard to imagine a more beautiful outcome of irony."
|
Gabrielle Lipton
|
|
86%
|
The River (1959)
|
"Jean Renoir's The River demonstrates with intoxicating lyricism the confluence of apparent contraries: past and present, innocence and experience, permanence and change-even Hinduism and Christianity."
|
Budd Wilkins
|
|
——
|
Motorway (Che sau) ()
|
"Cheang Pou-soi, touted in many parts as the protégé of beloved auteur Johnny To (who produced the film), still has yet to find a notable voice of his own"
|
Calum Marsh
|
|
71%
|
Wish You Were Here (2013)
|
"Nonlinear mysteries turn on the payoff delivered by the convergence of dual timelines and, in this case, the labored plot machinations of the second half announce the anticlimactic nature of that moment well before its arrival"
|
Abhimanyu Das
|
|
56%
|
Aus dem Leben der Marionetten (From the Life of the Marionettes) (1980)
|
"It's in those fully imagined marital fights that the film sheds it straightjacket of alternating plot twists, and lets the richer, more mournful emotions creep in."
|
Ela Bittencourt
|
|
——
|
Bella addormentata (Dormant Beauty) ()
|
"The "what were you doing when..." conceit of Dormant Beauty suggests a nostalgia and a veneer of social importance that the filmmaker shrewdly belies throughout."
|
Chris Cabin
|
|
——
|
Gebo et l'ombre ()
|
"The longer we stay with these characters, the more the film begins to come across as an extremely deadpan comedy about people resistant to change beyond all rational reasoning. "
|
Kenji Fujishima
|
79%
74%
61%
52%
27%
4%
