Jordan Roberts’ Frankie Go Boom is, above all, a good time. There’s many ways a comedy like this can fail, most run out of steam after promising first act, but ...
It takes only a moment to drop a bomb, but it can take years to clean up the devastation it leaves in its wake. Such is the case for post-Blitz London, with its...
An amalgamation of post-apocalyptic science-fiction and primal survival story, with a touch of romance, it is no surprise that The Hunger Games is being present...
The Cabin in the Woods is already going down as the one film this year you'll urge all your friends to see, but won't tell them anything about it. While the tra...
Once upon a time there was an comedian named Chris Farley and a movie named Tommy Boy. Farley, coming from a hardworking middle class Midwestern family, often m...
I had missed Surrogate Valentine at SXSW 2011. However, I learn that Daylight Savings is a continuation of the story of Goh Nakamura (playing himself), an Asian...
Scarlett Road makes a compelling and compassionate argument in its portrait of Rachel Wotton, a mid-30s sex worker in New South Whales Australia, where her indu...
There’s very little redemption in Crazy Eyes, a film that opens with the type of disclosure that appears buried in the end credits next to the copyright informa...
I would have never guessed Louisa Krause had it in her, front and center as a webcam girl in King Kelly, with an opening as she masturbates for her adoring fans...
Reality is a pretty easy thing to portray in a movie. We all have a pretty firm grip on the rules of the world, and the way that certain events will play out on...
