• Right Between Your Ears

    Right Between Your Ears

    ★★★½

    Technically unpolished (the voice over approached inaudibility at points) but nonetheless interesting and even-handed doco on Harold Camping, who believed the world would end in 2011, and his followers, whose beliefs were proven demonstrably false. The goal of the project isn't mockery, but to understand at a neurological level what belief is, and what happens when it's proven wrong. Arguably doesn't pass the "is this necessary when I could read a Wikipedia article" test, but seeing the faces of Camping…

  • Mulan

    Mulan

    ★★½

    I mean, better than I feared: it's pretty, albeit sometimes in a Thomas Kinkade goes to China way, and only intermittently edited badly (there's three editors, and at least one can cut action, and at least one really can't), but you can tell what scenes they had). Not at firsthand liberty to take umbrage with cultural issues, but fair enough to those who do: I'll let Walter Chaw speak for them, in a review you should really read. But for those not coping with a lifetime of damaging cultural stereotypes being doubled down on, I guess it's a fine enough time waster?

  • Technoboss

    Technoboss

    ★★★½

    An affectionate portrait of aging obsolescence and masculine fragility, told through the prism of a wildly eclectic musical, executed with a myriad of formal approaches from location-based observational to charmingly lo-fi and artificial stagecraft, and one of the strangest approaches to the inclusion of a narrator in any film I've seen. Not quite sure who I'd recommend it to, but I know when I figure out who, they'll freaking love it.

  • The Alien Factor

    The Alien Factor

    This film is to Dohler's later NIGHTBEAST as a murky basement tape of a band's first practice is to their first album.

    As anyone who's seen NIGHTBEAST knows, that film itself is the filmmaking equivalent of a murky early rehearsal tape, so you know that you're in for something very special here.

  • Neil Young Trunk Show

    Neil Young Trunk Show

    ★★★

    Completely unnecessary if you don't like Neil Young, and even then we're talking about that word in the "why yes I would like a 20 minute version of a song off of CHROME DREAMS II in my 85-minute concert film" sense of like, as opposed to the "I sure like 'Cinnamon Girl'".

    Anyway, I like Neil Young, so this did my heart good.

  • The Harder They Come

    The Harder They Come

    ★★★½

    Toots tribute screening, and it blows my mind that they wasted "Pressure Drop" as a background track and cut out before the chorus. Got a bit dozy towards the end, which I recall being a problem last time as well (and this time we started after midnight so can't fault the film entirely), but in general I liked it a lot more than when I saw it twenty years ago, if for no other reason than back then I found…

  • Flooding with Love for The Kid

    Flooding with Love for The Kid

    ★★★½

    I can offer this $96 adaptation of the novel FIRST BLOOD (I thought it was an adaptation of the film, but there are some deviations between the two), shot in a 220 square foot apartment, no greater compliment than that, about ten minutes to the end, I realised my principal annoyance was not with the single actor playing every character (and three dogs), or the beyond-minimalist set dressing, but instead that I was annoyed with certain aspects of the story (that had obviously been rejigged for the film FIRST BLOOD). Would make an amazing double feature with DOGVILLE.

  • Road

    Road

    ★★★★

    Try a little tenderness. See where that gets you. I struggle with filmed theatre, but Clarke pushes out the cinematic stops here, and that 7-block steadicam Lesley Sharp one-take monologue is honestly one of the most extraordinary counterarguments in the history of ever.

  • A Labor of Love

    A Labor of Love

    ★★★★★

    Honestly, this one-off accident of observational documentary (the filmmakers went on to literally nothing else in the field) is one of the greatest filmmaking docs ever made, and if it weren't for the fact that it was partially about shooting scenes of unsimulated sex it would be part of my hypothetical film school curriculum. As it is, insta-canon and hard-out PTSD fodder for anyone who's ever made a film. A fun game to play is watch hope gradually die in…

  • The World's Greatest Sinner

    The World's Greatest Sinner

    ★½

    Timothy Carey's legendary? forgotten? one-man magnum opus, which makes it doubly weird he seems like he's sleeping through big chunks of it, although "sleeping" is perhaps a euphemism for whatever substances he was on. (Certainly, when he's "on", he's playing to the rafters.) Kind of a piece with overambitious messianic disasterpiece artists like Tommy Wiseau (one of my friends compared this to Neil Breen, who I have yet to have the fortune to explore), but there's *something* less easy to…

  • King of Jazz

    King of Jazz

    ★★½

    Its most high-flying flights of fancy are jawdropping, and the 2-strip Technicolor always entrances, but even putting aside the egregious claims this WhiteMan makes for the legitimacy of his regency, it's just overstuffed and too often undercooked.

  • Apples

    Apples

    ★★★

    You mean this carefully shot satire of conventional social values with a surrealistic conceit and mannered performances is a Greek film?!?