"Tarantino on acid subversive sixties stoner satire. But a combo ballsy big screen intersection of politics, publicity and propaganda that couldn't be more provocatively in the here and now concerning truth in movies and the media - if there ever was any."
"A one hundred year buried history boldly and brilliantly exhumed and brought back to life in this defiant and devastating drama. With a convergence of a tense period thriller and stunningly seamless implosion of historical candor and raw emotional energy."
The Keeping Room (2015)
"A bold and ballsy fantasy feminist western with tall tale truth telling at its core, the film subversively sets in motion 19th century gender reinvention during war. With women always fighting a different battle, no matter which side of whatever war."
Mia Madre (2016)
"A lyrically textured group portrait of family loss and creatively confounded existential confusion. But emotionally insular political alienation upstaging pressing plot points tossed by the wayside, of an Italian working class in socio-economic crisis. "
"A curious contact high confection, as a furiously racist, anger mismanagement bad grandparenting goofy French elder turns to drug dealing in the hood to make ends meet, don't ask. But the sassy senior antics take a too excessively daffy detour in the end."
The Boy (2015)
"A memory lane roach motel melancholy lapse into Greed Decade doom not unlike now, as this bad boy veers in a slowly simmering, psychologically dense portrait, between victim and villain. While toying with audience senses, and his chosen targets as well."
Lila & Eve (2015)
"Or rather, Dirty Harriet. A movie with raw emotion but bold women badly scripted by male filmmakers. Who sadly bypass - reality check - Black Lives Matter. Not to mention opening on the one year anniversary of the NYPD chokehold slaying of Eric Garner."
Learning To Drive (2015)
"In no way shades of Driving Miss Daisy, The Odd Couple, and especially not Taxi Driver, this cross-cultural combo buddy movie budding romance conveys a delicately layered emotional bond built between two conflicted people who couldn't be more different."
Dark Places (2015)
"Dark Places along with Gone Girl, mystifies in terms of Flynn crafting such distasteful female characters. Then handing over for co-conspiratorial execution, so to speak, stories precipitating the misfortunes of the men around them, to male filmmakers."
Welcome To Leith (2015)
"Prophetic as to what might lie ahead for this nation anywhere, as the economic crisis and resentments ensue. Though one vital issue not addressed, is how US exceptionalism legally come home to roost under the dubious blanket of civil liberties, kicks in."
"A fierce class conscious comedy symbolically celebrating a bold rebel youth rejecting the reactionary traditions thwarting generations preceding them. And perhaps a new day for Brazil and a long oppressed and recently reinvigorated Latin America as well."
Madame Bovary (2015)
"Connects to Flaubert at his most prophetic and dark, deconstructing the stranded emerging bourgeoisie caught between thwarted pretensions to the aristocratic elite, and the creeping albatross of emerging compulsive consumerism as emotional compensation."
The Emperor's New Clothes (2015)
"Russell Brand's politically fervent but feeble fashion statement. Though Brand displays noble intentions in fixing that broken entity capitalism with selective repairs, those simplistic sentiments however subversive are, sorry to say, not noble enough. "
Jimmy's Hall (2015)
"There are inspiring socio-political episodes throughout Jimmy's Hall, as relevant today as back then. Pertaining to popular struggle everywhere of an occupy movement that was apparently in full swing in rural Ireland, a century before Occupy Wall Street."
Die Lügen der Sieger (2015)
"Lies Of The Victors newsroom noir burrows into the murky depths of corporate control over just about everything these days. But a dense narrative compromises suspense for audience head scratching, nearly as confounding for them as the puzzled protagonist."
"A sort of wikifreaks noir cyber-thriller involving hacker geeks high on Ritalin, a sour female spy with a malfunctioning uterus, multiple hacker wars that may have confounded even Julian Assange and something to do with four lost and found cubes of sugar."
"A flawed human canvas candidly divides the characters into people facing brutal moral realities they cannot transcend. While some go along to get along or succumb to identification with the oppressor, or immense heartbreak relieved by self-obliteration."
"A candid exploration of how women channel the Holocaust differently in movies. Meanwhile, elephant in the screening room alert, with the suppressed buried past under the rubble of history, as to just how economics and ideological rivalry kick in."
"Revisionist male screen images meant to blame the victimizer. But this minimalist macho miscreant mayhem, part Tarantino, part existential live action looney toons, is a metaphysical case of too little information leaving far too much to the imagination."
The Film Critic (2015)
"Move over Scientology. While veiled threats to critics if daring to approve the damning doc Going Clear were mere idle tongue wagging, The Film Critic may be another matter. And if a warning to critics to beware, let for a change you the reader decide."
"What could be as horrifying as a monster in movies right now, than bosses. Or worker oppression, exploitation and jobless desperation. All of which adds up to a potential new horror genre pathological strain. And the boss going postal on workers instead. "
Urok (The Lesson) (2015)
"The Lesson: A hardly coincidental Bulgaria/Greece joint class act on toxic neo-colonialism. And a Euro-economic crisis cinema moral noir drama raising those bitter stakes with its post-Soviet, reverse requiem of despair under domination of the dollar."
The Humbling (2015)
"Better than Birdman, with its more poignant, less pretentious introspective grasp of the raw, revealing truths connected to the ironic and elusive notions of art, existence, self-worth, and fame. And, when not just simply deliciously weird and wicked fun."
"Free speech or hate speech, daring activists or danger junkies? Among the issues this doc does not pursue, seemingly living outside history along with the gleeful Charlie Hebdo cartoonists it celebrates. Whose demise yes, could be connected to the CIA."
"A Southern Gothic wilderness weepie with proletarian occult leanings, a masculinzed femme fatale selfie, workingclass wallpaper, and weirdly anachronistic back to future ecological activism. While filming in a Czech forest, to access cheap nonunion labor."
"Remarkable slice of life regional economic crisis cinema. And class fate as a microcosm in one emotionally and financially drained town. In other words, more than just the story of a tragic accident - but about everything not accidental in class society."
Roald Dahl's Esio Trot (2015)
"A decidedly daffy, rather ridiculously resplendent reptilian elder romance, don't ask. And in which Dustin Hoffman pulls off a highly peculiar Peeping Tom with enormous heart, even if on the weirdly borderline unhinged side. "
"No matter the theme, movies lately nearly always touch on workplace brutality or the lack of work at all. But for a change Foxcatcher names names, connecting chilling capitalist noir multi-millionaire murder at home, to US crimes against humanity abroad. "
Big Eyes (2014)
"The business of art and the female Stuck-Home Syndrome? As Burton crafts a canvas of his own pitting stifled rebellion against embarrassing expediency. And if he's also taking on the movie industry that shoves art aside for profit too, all power to him."
The Homesman (2014)
"Not exactly a feminist western, but powerfully evoking the lives of these scarred and thwarted women - and men - afflicted with Prairie Fever madness. As Tommy Lee Jones remarkably illuminates that red state of mind with an astonishing poetic eloquence."
Maps to the Stars (2015)
"A rude and raucous LA cesspool reality check especially for star struck audience obsessives, the film walks an exceedingly fine line between exposing Hollywood self-dehumanization, and crossing it. Along with retaliatory menstruation, and other delights. "
Camp X-Ray (2014)
"Kristen Stewart kicks ass, taking on with raw and real gusto, what's going down in the world today. And opting for the opposite of most movie stars in their quest for fame and fortune, intent on mining her talent for meaningful hardcore drama instead."
"A vividly conceived journey into the creative imagination and passion of artists in Cuba. And what miracle happens when art purely as a socially subsidized and esteemed professional pursuit, is liberated with a luminescent light from money."
The Prince (2014)
"Macho mayhem as the male version of maternal instinct. While Willis rather delicately negotiates his darker side, in a shaky balance between a slightly humanized professional psychopath seeking closure for a major grievance, and just a really rotten dude."
The One I Love (2014)
"The One I Love, or rather The Ones I Love. And the sort of challenging review where saying anything at all, may be already saying too much. So enough said about the mysterious meanderings of this crabby when not cosmic, identity theft small talk romance. "
"While the US energy corporations conspire to invade Euro markets by demonizing Russia and marginalizing their gas industry, American movies seem to be getting in on the financially lucrative propaganda frenzy too. Charlie's Devils meets The Sexpendables. "
"Desperate housewife in hell Eva Longoria, in this Arizona brewing border wars bromance eloquently engulfing Harris and Pena. And vigilantism once again an enduring theme in US movies, no surprise there. Spurred on by a corrupt when not broken system. "
Good People (2014)
"Kate Hudson wears the pants in this family, perfecting ballsy moves against bad guys. In a nuclear family noir faceoff against gangster thriller gore, channeling guerrilla imagination in a bleak, apocalyptic end stage capitalism, recession stricken world."
The Calling (2014)
"Unlike the doomed man of the cloth comedic crime thriller Calvary, Susan Sarandon switches up sacraments, maniacs and mysticism here. As a felonious religious fanatic possibly in league against lapsed Catholicism, pursues homicidal redemption, don't ask."
Around The Block (2014)
"Hamlet In The Hood. Petite Christina Ricci displays a big heart, as a teacher in touch with her inner maternal instinct. And disaffected Aboriginee teens dramatizing in a culturally conscious production, the alienation at the heart of Hamlet, who knew. "
"Within the colorful layers of humor and heartbreak summoned in equal measure by Jeunet's magical powers of visual storytelling, are stinging perceptions pertaining to difference intolerance and oppressive cultural tendencies playing out in this country. "
Cement Suitcase (2014)
"A bittersweet when not refreshingly ballsy comedy that isn't especially about cement or suitcases, the film seems inevitably yet another spotlight on the economic plight of youth today. A smartly scripted concoction of sobering and weirdly kooky charm."
"A stinging and sobering portrait of the struggle for subsistence and dignity in the face of economic despair, while laced with muted comedic charm. And a cautionary triumph steeped in magical realism, melding political reality and personal human pain."
"Medieval mumblecore. And social conflict as secondary to the scenery in this dramatic momentum-free travelogue, a treat solely for arty snobs and couch potato political dilettantes. Poverty porn as high art, and most memorable, a pregnant horse in labor."
Fuck For Forest (2014)
"Not exactly the IMF turning up in countries with dubious offers that fuck and enrage economically enslaved unsuspecting countries, but these jungle sex tourists bear some negative similarities. In you might say, an accidentally important film."
Nothing Without You (2014)
"A moral thriller with a highly unusual provocative twist, that women even when most questionable can be complex, empathetic beings. Unconventional, courageous filmmaking, subverting stereotypical notions of politics and seemingly scary women on the edge."
Nymphomaniac: Volume I (2014)
"Whether One or Two of this cinema interruptus teaser is more an ordeal in a perhaps closet biopic, is a tossup. And with Trier very possibly in surrogate self-psychoanalysis mode, don't be surprised if his shrink puts in a bid for a screenwriting credit."
Big Joy (2014)
"Best when offering immensely pleasurable readings of the poet's verses. But the fawning male-centric focus is too conveniently dismissive about his discarded women and offspring. Including eminent critic Pauline Kael, reduced to a cameo irritant here."
The Fifth Estate (2013)
"Assange's smelly socks more lethal than US wars against the planet? You bet, if it's ABC's Media Empire competing David and Goliath war on Wikileaks. And how Hollywood never 'gets' rebel activism, sifted through their narrow prism of ambition and greed."
The Bling Ring (2013)