Way Too Indie

Way Too Indie is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Bernard Boo, C.J. Prince
Rating Title/Year Author
6.8/10 The Kings of Summer (2013) Bernard Boo The cast's spot-on performances are worth the price of admission, but I can't help but think how great the film could have been, if only it were more comfortable in its own skin. EDIT
Posted Apr 15, 2019
6.8/10 Someone I Used to Know (2012) Bernard Boo Someone I Used to Know is a fun watch, but only a so-so example of the talky subgenre. EDIT
Posted Apr 15, 2019
6.1/10 Resolution (2012) Bernard Boo Though Resolution has some significant flaws, it's important that films like it get made and that filmmakers like Moorehead and Benson continue to aim high and take chances. EDIT
Posted Apr 15, 2019
6.3/10 Red Flag (2012) Bernard Boo Though the premise of Red Flag is meta by nature, at the end of the day it amounts to little more than a decently entertaining yet largely dispensable road trip movie. EDIT
Posted Apr 15, 2019
7.9/10 The Ghastly Love of Johnny X (2012) Bernard Boo What makes this film work is the passion Paul Bunnell injects into it; he obviously loves and is a connoisseur of the genres he pays homage to. EDIT
Posted Apr 15, 2019
7.1/10 The Cutoff Man (2012) Bernard Boo While Gabi's story easily could have been told as a short film, the added length helps the emotional heft of his plight sink in deep. EDIT
Posted Apr 15, 2019
8.2/10 The Attack (2012) Bernard Boo The lasting images Doueiri conjures are what I ultimately took with me after all was said and done, and the droning, ambient electronic music he pairs with the visuals adds a surprising amount of tension and mood. EDIT
Posted Apr 15, 2019
8.8/10 Stories We Tell (2012) Bernard Boo It's thrilling, with emotional highs and lows that are intensified by the fact that we're watching real people-a real family-have their world shaken and turned upside-down. EDIT
Posted Apr 15, 2019
9/10 Simon Killer (2012) Bernard Boo A raw, primal film that will leave you emotionally and psychologically stripped. Though a feeling of unease and dissonance pervades it, its cinematic elements are immaculate. EDIT
Posted Apr 15, 2019
8.7/10 Short Term 12 (2013) Bernard Boo Short Term 12 lives and breathes true reality onto the movie screen better than most documentaries can. EDIT
Posted Apr 15, 2019
7.1/10 Where We Grew Up (2012) Bernard Boo Rue Mandar isn't going to win any awards for creativity or innovation in storytelling, but it introduces a bit of wickedness and morbidity into the family dramedy formula that gives it more resonance. EDIT
Posted Apr 15, 2019
6.7/10 Populaire (2012) Bernard Boo Despite a painful lack of narrative originality, Populaire's peppy charm, game cast, and spectacular bubblegum imagery save the day and make it fun, at least. EDIT
Posted Apr 15, 2019
7.2/10 Out in the Dark (2012) Bernard Boo Out in the Dark creates an atmospheric sense of tension that soaks into every scene, but what's slightly lacking here are surprises. EDIT
Posted Apr 15, 2019
8.2/10 Museum Hours (2012) Bernard Boo Cohen examines the skill of looking-looking at art, looking at film, looking at the world around you. He observes the art, and we observe his art, watching intently as he films intently. EDIT
Posted Apr 15, 2019
7.7/10 Much Ado About Nothing (2012) Bernard Boo Much Ado About Nothing is light, good-humored fun. It's sparkly and summery and full of laughs, though the modern setting doesn't gel with the Elizabethan material quite as well as I'd hoped. EDIT
Posted Apr 15, 2019
5.2/10 Mademoiselle C (2013) Bernard Boo Constant has resigned from constructing anything resembling a narrative arc with Mademoiselle C. It's so anecdotal that it feels like a music video highlight reel of the lives of fashion moguls. EDIT
Posted Apr 15, 2019
6.9/10 Luv (2012) Bernard Boo A woefully contrived tale of delinquent father-figures and inescapable pasts, but it succeeds as a platform for its excellent cast to exhibit their masterful acting skills. EDIT
Posted Apr 15, 2019
8/10 Like Someone in Love (2012) Bernard Boo Like Someone in Love might initially feel elusive and trying, but the more you give of yourself to the movie, the more it gives back. EDIT
Posted Apr 15, 2019
8/10 Life According to Sam (2013) Bernard Boo Directors Sean Fine and Andrea Nix Fine have crafted an inspirational, triumphant, and uplifting tale that educates as it stirs your emotions. Sam and his family are beautiful, beautiful people, and their unflinching optimism is awe-inspiring. EDIT
Posted Apr 15, 2019
6.6 Lee Daniels' The Butler (2013) Bernard Boo It's a shame that the excellent central storyline gets so obstructed and mucked up by all the noise, spectacle, and pageantry. EDIT
Posted Apr 15, 2019
5/10 Jobs (2013) Bernard Boo The film's major moving parts are damaged, effectively crashing the machine. Send this one back to the factory. EDIT
Posted Apr 15, 2019
7/10 Instructions Not Included (2013) Bernard Boo Instructions Not Included's humor, while effective, feels confused as to who it's aimed at. The physical gags are unapologetically slapstick and cartoony. EDIT
Posted Apr 15, 2019
7.4/10 In a World ... (2013) Bernard Boo In a World... is a clever, character-centric comedy that's got a great cast and is framed by such a strangely peculiar backdrop that it sets itself apart. EDIT
Posted Apr 12, 2019
7.8/10 I'm So Excited! (2013) Bernard Boo Has Almodóvar's filthy comedic mind lost its edge during his extended respite? No-his edge is sharp, and he's still fiendishly provocative, no question. He had me constantly shaking my head in disbelief at the dirty things he got me to laugh at. EDIT
Posted Apr 12, 2019
8.7/10 Happy People: A Year in the Taiga (2010) Bernard Boo Herzog lends the golden touch that is his voice to the film, making the grueling, harsh winter landscape lyrical and poetic. EDIT
Posted Apr 12, 2019
6.2/10 Ghosts With Sh... Jobs (2012) Bernard Boo There is serious potential that lies beneath the surface of Ghosts with Shit Jobs, but sadly, it isn't realized. The film has moments of brilliance, but these moments are fleeting and soon-forgotten. EDIT
Posted Apr 12, 2019
9.1/10 Fruitvale Station (2013) Bernard Boo Fruitvale Station will rattle you to the core. EDIT
Posted Apr 12, 2019
8/10 Evil Dead (2013) Bernard Boo What makes the film work is that it's not completely consumed with hitting every single beat from the original. It paves its own gory path, though the spirit of Raimi and Campbell can be felt throughout. EDIT
Posted Apr 12, 2019
8.2/10 Deceptive Practice: The Mysteries and Mentors of Ricky Jay (2012) Bernard Boo It would be entertaining enough to simply set Ricky Jay in front of a camera and let him talk, but Bernstein captures the essence of Jay's persona in a way that's as intimate and riveting as his routines. EDIT
Posted Apr 12, 2019
6.7/10 C.O.G. (2013) Bernard Boo We should love these characters, but Alvarez hurries by them and doesn't give us much of a chance to get acquainted. EDIT
Posted Apr 12, 2019
7.8/10 Byzantium (2012) Bernard Boo What resonates most about Byzantium aren't its flaws, but its truly remarkable strengths-the themes of identity and trust; the richly textured, alluring imagery; the brilliantly acted relationships. EDIT
Posted Apr 12, 2019
8.4/10 Blue Jasmine (2013) Bernard Boo Though Allen opted to not endow Blue Jasmine with his travelogue visual flare that I've grown fond of, Blanchett provides so much to chew on and gawk at that she single-handedly makes the film a certifiably significant work. EDIT
Posted Apr 12, 2019
6.7/10 Blue Caprice (2013) Bernard Boo Moors exercises taste by not sensationalizing the violence or playing it for shock value, but refraining from showing the murders entirely would have been much, much more tasteful. EDIT
Posted Apr 12, 2019
9.3/10 Before Midnight (2013) Bernard Boo Unblemished and smooth-as-silk, flowing from one moment to the next like water. It's a seamless experience. EDIT
Posted Apr 12, 2019
7/10 Austenland (2013) Bernard Boo Hess' bread and butter shines through; the silly, elastic facial expressions, the shameless pratfalls, witty exchanges, and Coolidge's golden one-liners kept me laughing all the way through and saved the experience from being a regrettable one. EDIT
Posted Apr 12, 2019
7.8/10 Ain't Them Bodies Saints (2013) Bernard Boo With Ain't Them Bodies Saints, Lowery has all the pieces to the puzzle, but just can't put them together like the master can, though his creation is undeniably beautiful in its own right. EDIT
Posted Apr 12, 2019
6.7/10 Afternoon Delight (2013) Bernard Boo Focus is what's sorely lacking here, tonally. The smart-ass exchanges between the comedy-centric ensemble generally read as light-hearted and clever, no edgier than what you'd see on The Office. EDIT
Posted Apr 12, 2019
8/10 A Band Called Death (2012) Bernard Boo More than a rock-doc, though it sure does rock. EDIT
Posted Apr 12, 2019
9/10 You're Next (2011) Bernard Boo You're Next is an absolute beast of a horror picture that's so fierce, barbaric, and terrifying that the guy sitting next to me in the theater started to convulse from fright and leaped over his chair and bolted out of the theater. EDIT
Posted Apr 11, 2019
8.8/10 Wadjda (2012) Bernard Boo Wadjda is unstoppable, and the character will no doubt serve to empower many young Saudi girls. EDIT
Posted Apr 11, 2019
8.5/10 Nono, The Zigzag Kid (2012) Bernard Boo It's nice to see a challenging topic being tackled in a family-friendly film like this. The Zigzag Kid's irresistible charm leaps off the screen thanks to Bal's flourishing imagery and gifted cast. EDIT
Posted Apr 11, 2019
7.5/10 The We and the I (2012) Bernard Boo While The We and the I is visually more grounded in reality than most of Gondry's famous works, it's still incredibly colorful and striking. Virtually the entirety of the film takes place inside the bus, with the illusion of real time. EDIT
Posted Apr 11, 2019
8.9 The Story of Luke (2012) Bernard Boo Mayo and Pucci work together to create a portrayal of a young autistic male with authenticity and taste. Luke is not a caricature, nor is his condition understated. EDIT
Posted Apr 11, 2019
7.9/10 The Patience Stone (2012) Bernard Boo If you listen, watch, and submit to the film's admittedly glacial pace, you'll be rewarded with a wonderful, soul-stirring filmic experience. EDIT
Posted Apr 11, 2019
7/10 Herb & Dorothy 50x50 (2013) Bernard Boo Herb & Dorothy is still like the most uplifting, inspiring, beautifully shot episode of Hoarders ever, the perfect ending to an artful American romance. EDIT
Posted Apr 11, 2019
8.3/10 On the Job (2013) Bernard Boo As the myriad plot elements begin to iron out and the true nature of the situation becomes clear, high-concept is replaced by high tension, intellect falls way to instinct and emotion, and an intense, pulsating, super-charged crime flick emerges. EDIT
Posted Apr 11, 2019
8.2/10 Concussion (2013) Bernard Boo Writer-director Stacie Passon's debut feature is an accomplished first statement, with polished visuals, strong performances, and an ending that leaves you with a lot to chew on after leaving the theater. EDIT
Posted Apr 11, 2019
7.2/10 We Are What We Are (2013) Bernard Boo More family drama than gore fest, Mickle's film is driven by atmosphere and mystique, more concerned with creeping you out than making you hurl. EDIT
Posted Apr 11, 2019
7/10 Machete Kills (2013) Bernard Boo The appeal of Rodriguez's '70s grindhouse influenced films like Machete Kills is bound to wear thin one day, but not today. EDIT
Posted Apr 11, 2019
6.7/10 The Summit (2012) Bernard Boo The constant bombardment of facts, opinions, and time jumps is a lot to digest, causing a lot of the emotional bits to slip through the cracks. EDIT
Posted Apr 11, 2019