THE MEND is an odd homage on how Cassavetes and Allen revolutionized the American independent film and New York relationship drama, while in other ways it’s bent on turning the whole formula on its head.
Despite the controversy surrounding its release, Seth Rogen and Evan Goldberg’s THE INTERVIEW isn’t an incisive satire so much as another mostly satisfying comedy in the vein of their usual work.
Jason Reitman’s latest merges his usual quirky ensemble piece with an overbearing sense of melodrama, derailing any real social commentary this “Internet-age” feature reaches for.
John Carney’s BEGIN AGAIN doesn’t utilize the power of cinematic minimalism or cinematic chaos, but it is a fine example of the philosophy that a good film is like a good song.
The first real departure from type for Breaking Bad’s Aaron Paul, Sundance hit Hellion is a type of film with roots dating back to Italian neorealism but is ultimately insubstantial and unsatisfying.
Filled with solid performances, humor, and well-executed action sequences, Doug Liman’s Edge of Tomorrow looks set to remind us once again why Tom Cruise is one of the biggest stars in the world.
Back in the international spotlight following Jodorowsky’s Dune, the Chilean director and cult favourite has released what appears to be his final film, autobiographical in nature and filled with fantastic and theatrical images.