Ezra Haber Glenn
Blue Bayou’s story deserves to be told and heard. But rather than focus slowly and intently on its central crisis, the script kneads in a dizzying array of additional threads and sidelines.
Read MoreThe Card Counter collapses under the weight of director Paul Schrader’s guilt complex.
Read More1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
Read MoreThis new satirical sci-fi fable is perfect for home streaming to channel (or perhaps exacerbate) your gnawing anxieties at a world slipping into anti-human automation and free-market desperation.
Read MoreThis is a thoughtful, surprisingly moving, and extremely ambitious film, one that employs an innovative style and some unconventional pacing to explore an unusually complex philosophical and emotional landscape.
Read MoreWithout ignoring the terrible-beautiful magnetism of the industrial imagery we love to hate and hate to love, the camera is gradually, gently, drawn across the river and away from the workday, to spend time with these very real humans who serve the machines.
Read MoreCensor explores thought-provoking questions about the strange relationships between films, society, fantasy, and reality — and individual identity — in an increasingly mediated and violent world.
Read MoreFern may be house-less, but she’s not homeless — there’s a difference, she explains; her home will be the road, and the road is full of life, love, challenges, and surprises, all there for the taking.
Read MoreWhile the film is determinedly called “Herself “(“you got this, girl…”), the subtitle could equally have been “It Takes a Village…”
Read MoreThis innovative “documentary” is a major accomplishment: it merits a much broader viewing than it is likely to attract (this one has “sleeper” and “cult classic” written all over it).
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