A solid script, well-timed direction, standout production values and impressive thesping by relative unknowns.
Highly intelligent pic could score as an arthouse sleeper, especially but by no means exclusively with femme auds.
Segments go on far too long, and return trips prove merely redundant.
Verena Paravel and J.P. Sniadecki's ethnological docu "Foreign Parts" follows the perambulations of various local characters through Willet's Point, an elephant's graveyard of car parts in Queens.
Takes the bleakly comic dysfunctional-family genre and boils it down to one disputed apartment.
Information-packed report weds elements of the diary film with newsmagazine-style profiles of people coping with sight loss.
This re-excavated attempt to grasp the unimaginable packs an unexpected wallop.
A muddled script, spatially confounding direction and four thesps seemingly acting in four different movies are only a few of the problems with the misbegotten political thriller "As Good as Dead."
Director Mark Epstein examines the cross-pollination between the artist and his surroundings.
Superficially, this minimalist docu about the role of doctors as prime executors of Nazi ideology would appear redundant.