Future art historians may use Joe Swanberg's latest to illustrate the paucity of ideas and means in the 2010s.
The sad aimlessness of Joe Swanberg's second feature of 2011 elicits only a begrudging pity.
This vaguely dystopian, oddly disconnected 3D urban noir is a slick but simple-minded fable.
China's film market is booming. But while the burgeoning number of new cinema screens is fueling wild expansion, the pressure to get one of the key slots in the sked is growing.
In what will please those in Hollywood eager to get into the world's fastest growing major film market, this year is set to be marked by changes in the structure of the biz in China, evolution that…