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Tribeca Review: Thai Existentialist Hitman Film 'Headshot' Proves The Genre Still Has A Pulse

  • By Erik McClanahan
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  • April 20, 2012 11:05 AM
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  • 1 Comment
The hitman genre has been done to death. If cinema can be a reflection of the times we live in, and a recorded piece of history of what the filmmakers are concerned with at the time of inception and production, then it’s amazing any of us are still alive. When done well, the genre can be a lot of fun – as well as dramatic, escapist, cool and artful – but there’s just too many professional killers running amok in the movies.

Review: 'Penumbra' Flirts With Early Argento, Settles For Late-Period Dario

  • By Gabe Toro
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  • April 20, 2012 10:03 AM
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  • 1 Comment
“We are surrounded by monsters!” bellows the deep-voiced heavy metal singer in the end credit music for “Penumbra,” the new Spanish-language thriller opening this week. Given the subject matter, he may be drawing too broad a picture, given that so much of this singleminded scarefest relies on perspective, itself crooked in some ways.
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Tribeca Review: 'Polisse' A Gritty Police Procedural That Can't Avoid Soap Opera Theatrics

  • By Kevin Jagernauth
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  • April 20, 2012 9:01 AM
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  • 1 Comment
On paper, a film investigating the inner workings of the police department seems like an odd choice for the Cannes Film Festival which prides itself on breaking new voices in cinema. Certainly, the film world has never lacked in depictions of a cop's life in all its difficult detail. But "Polisse" brings something slightly different to the equation. Inspired by a documentary the singularly named director Maiwenn saw on television about the Child Protection Unit, she set out to do her own research and based on that she's spun "Polisse." No, this isn't just a two hour episode of "Law & Order: SVU" (though at its worst, it does evoke some of the shriller moments of that show), instead, it's a largely unflinching look at the harrowing crimes this group of undersung officers investigate on a day to day to basis and the repercussions it has on their personal lives.

Tribeca Review: Haphazard 'Your Sister's Sister' Ambles Towards Drama With Little Consequence

  • By Kevin Jagernauth
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  • April 19, 2012 7:00 PM
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  • 2 Comments
Independent filmmaking has become somewhat hyper-obsessed in the last few years with "realism." Lighting rigs have been put away, available light filling in where it will, and scripts tossed out for sketches, shaped by improvisation in an attempt to capture as close to an approximation of real human interaction as possible. It's an admirable approach, and not just limited to "mumblecore" movies -- Terrence Malick has followed this path pretty closely throughout this career. However, the risk in this style is that if it's too loose, it can structurally crumble the emotional and narrative focus. And for "Humpday" director Lynn Shelton's "Your Sister's Sister," that's the unfortunate result of the ten day shoot on the film that gathered together a game cast -- Emily Blunt, Rosemarie DeWitt and Mark Duplass -- and sets them loose on a good dramatic premise, unfortunately ill-served by a far too casual approach.

Tribeca Review: An Unwieldy ‘The Five-Year Engagement’ Is Still Endearing, Funny & Smart

  • By The Playlist
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  • April 19, 2012 8:59 AM
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  • 1 Comment
Funny, touching and occasionally dramatic, Jason Segel and Nicholas Stoller’s charming “The Five Year Engagement” falls just short of the modern-day comedy classic category, and yet is deeply entertaining, genuinely amusing and satisfying in the way most shaggy-dog, two-hour-plus comedies are not. Bolstered by a hilarious supporting cast and two genuinely likable leads, the Judd Apatow-produced comedy may feel a little unkempt at times, but the picture has sweet and touching notes to go with the diverting silliness.

Review: 'Oki's Movie' A Sincere, Hilarious & Dense Relationship Movie

  • By Christopher Bell
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  • April 18, 2012 6:57 PM
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  • 0 Comments
Comprised of four segments using the same characters caught in a love triangle at various points in their life, "Oki's Movie" experiments with structure to humorously examine the connections and similarities between people. By jumping through various time periods and swapping perspectives, filmmaker Hong Sang-soo creates a little puzzle out of human relationships.

Review: Mary Harron's 'The Moth Diaries' Is A Teen Vampire Tale Without Any Fangs

  • By Oliver Lyttelton
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  • April 18, 2012 4:57 PM
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  • 0 Comments
It's remarkably tough to get any film financed, at least one that doesn't have 3D talking animals from a popular cartoon series. So it's no surprise that some filmmakers, for all their best efforts, can go three, four, five or more years between pictures. Worryingly, it seems to be doubly true for female directors. Look at Kimberley Pierce, who's only made one film in the twelve years since "Boys Don't Cry," or Tamara Jenkins, for whom nearly a decade separated "Slums of Beverley Hills" and "The Savages," or even Kathryn Bigelow, who might be an Oscar-winner now, but had a six-year break before "The Hurt Locker." One of the key examples here is Mary Harron, who since her 1996 debut "I Shot Andy Warhol" had only made two other films: "American Psycho," and the biopic "The Notorious Bettie Page," the latter of which was five whole years ago. None of her films to date have been stellar, but she's always displayed more than enough filmmaking nous to make an upcoming Harron picture something to look forward to.

Review: Reverence Outweighs Insight In Kevin Macdonald's 2 1/2 Hour 'Marley' Documentary

  • By Jessica Kiang
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  • April 18, 2012 3:56 PM
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  • 2 Comments
A long film detailing a tragically short life, on paper, Kevin Macdonald's Bob Marley documentary "Marley" has more than enough of a pedigree to justify its 2 1/2 hour running time. After all, it's a biopic of one of the most influential and evergreen musical pioneers of all time, being brought to us by the respected documentarian behind the thrilling "Touching the Void" and the Oscar-winning "One Day In September." But the truth is that film's exhaustive approach at some point becomes simply exhausting, with its sporadic moments of true inspiration, almost all directly connected with the music or Bob's early life, serving mostly to remind of how by-the-numbers the rest of the movie is. It purports to bring us the man behind the myth, but 150 minutes later, the flesh-and-blood Marley remains frustratingly out of reach, and the myth is still reverently intact.
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Review: Disneynature's 'Chimpanzee' Would Be Genuinely Amazing If Tim Allen Just Shut The Hell Up

  • By Drew Taylor
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  • April 18, 2012 2:56 PM
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  • 0 Comments
The opening moments of Disneynature’s “Chimpanzee” are genuinely jaw dropping – an emerald green jungle, more lush and 3D than the otherworldly forests of Pandora, fans out across the screen, and we’re introduced to a young male chimpanzee, named Oscar, as intricate and bewildering as any CGI creation. And then…the narration starts. In a misguided bit of synergistic back-scratching, Buzz Lightyear himself Tim Allen provides the running commentary, which is so awful that it does the unthinkable – it actually unravels much of the natural beauty presented onscreen. It’s enough that the entire time you’re thinking, “Well, maybe there’ll be a silent version on the DVD.” It’s that ridiculously terrible.

Review: 'Goodbye First Love' Looks At Young Romance Without Affection

  • By Christopher Bell
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  • April 17, 2012 3:07 PM
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  • 3 Comments
Television and movies love to indulge us in pre-adulthood nostalgia. Whether the bait is loose (young hooligans causing a ruckus) or more specific and event-oriented (prom, which we've seen less of lately because, well, prom sucks), the powers that be tug at our heartstrings and force us to look back at a time free of major responsibilities and full of fresh experiences. The glazed schmaltz can be off-putting for some, but occasionally sincerity shines through, and we get something that captures the emotions extraordinarily well (for this writer's money, "The Virgin Suicides" and "The Girl" are uneven but nail certain feelings on the head). But if we look back without this fondness, what are these stories? Are they merely happenings that somehow affected the person we become, or are they just the product of naive children that didn't know better? Mia Hansen-Løve's "Goodbye First Love" attempts a critical look at a teenager's first relationship without wooing us first with their blithe beginnings, but has very little to say about the topic.

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