Reviews

NITWIT

By | February 2004

In the course of its 100 minute life, it presents a miserable skein of vomiting, eye-rolling, simulated sex, amateurish Southern accents, panting, kicking, snarling, whining and a tiny space ship floating about to music meant to call up Doctor Who…

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Reviews

NITWIT

"Nitwit" is a small debacle of incoherent puerility. In the course of its 100 minute life, it presents a miserable skein of vomiting, eye-rolling,...

Reviews

THE ESORT (Mauvaise passe)

With an edgy filmmaking style, French writer-director-sometimes actor Blanc tells a gritty tale of life in London--interesting, but more than a little...

Reviews

PASS THE MIC

This documentary about Latino hip-hop shows some interesting parallels to the Latino punk rock scene. Both forms of music are politically charged,...

Reviews

ACCELERATION

Images of the windows of moving trains, reflecting the stationary faces of passengers on the platform. Parts of the film are silent; others are accompanied...

Reviews

PLATFORM

Watching yet another long Chinese history lesson isn't exactly my idea of a thrilling night out, but this film actually has a lot to offer as both a human...

Reviews

DEVDAS

The latest Bollywood extravaganza to get mainstream release in Britain, this is based on one of India's most beloved novels, filmed at least 10 times since...

Reviews

GOODBYE, LENIN!

If, like me, the phrase “German comedy” gives you a strange feeling of dread, fear not: “Good Bye, Lenin!” manages to (more or less) successfully...

Reviews

ABBY (DVD)

The DVD case says: “Collector’s Edition” Rhonda Baughman says: “The DVD skipped, I had to watch it by chapter selections, and I have no idea why...

Reviews

MICROCINEMA’S INDEPENDENT EXPOSURE – NINTH SEASON PREMIERE EDITION 2004

Microcinema’s monthly Independent Exposure program has returned for a 9th season, bringing with it the possibility for more great shorts from many...

Reviews

THE PASSAGE

There’s nothing like narrative deprivation in a film to keep an audience attentive. Whether this technique emerges at a film’s beginning, middle, or...

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