Profil użytkownika chuck-bowen
We Are What We Are (2013)
Jim Mickle plays the scenario deadly straight and unintentionally exposes all of its attendant absurdities, leaving the cast stranded.
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Hell Baby (2013)
Robert Ben Garant and Thomas Lennon display a freewheelin' sense of invention that should be watched closely, because they have the raw stuff of major comic filmmakers.
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The Frozen Ground (2013)
Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
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The Canyons (2013)
Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
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Europa Report (2013)
After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
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Broken (2012)
It's the rare coming-of-age narrative that manages to respect the tricky ambiguities of shifting perceptions.
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Pawn Shop Chronicles (2013)
Wayne Kramer thankfully refuses to cloak his excessiveness in hedge-betting self-consciousness and the result is a gratifyingly disreputable B-movie blow out.
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Vehicle 19 (2013)
As one incoherent action scene follows another, one's left staring at a film with nothing to respond to, waiting for it all to be over.
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100 Bloody Acres (2012)
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One sees a film called 100 Bloody Acres expecting the requisite allusions to The Texas Chainsaw Massacre, but an homage to the best scene in Melvin and Howard comes as something of a shock.
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Berberian Sound Studio (2012)
On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmma...
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