5 Broken Cameras2012
Startlingly intimate and direct, this first-person doc by Emad Burnat and Guy Davidi requires multiple viewings for anyone eager to work out how it could have been shot with such precision and visual ingenuity under such plainly chaotic conditions.
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The Assault2012
The Assault is so tense, it seems to pass in a single held breath-so quickly, in fact, that you don't register its narrative flimsiness until later on.
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Citizen Gangster2012
Morlando shows commendable focus (even Cox dials it down), and his movie's modest aspirations nicely reflect the condition in which Boyd, his damaged charisma spent, finally thrives.
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Detachment2012
The movie's motives might be admirable, but its execution is so bogged down in impenetrable old-white-guy self-pity that the real problems facing public education and its practitioners get buried in the wallow.
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The Girl from the Naked Eye2012
There are dozens of better, riskier, more interesting films that go unreleased every year-why this militantly dull effort is taking their place is its only worthwhile mystery.
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Intruders2012
With nothing tangible at stake, Intruders is just an aggregation of influences that's as blank as its bogeyman.
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Payback2012
Cinematic globe-trotting doesn't necessarily trump reading a good book, it turns out; then again, more movies should be burdened with the flaw of being too intellectually curious.
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Pink Ribbons, Inc.2012
Above all, Pink Ribbons, Inc. is an argument for reintroducing into the public discourse the uncertainty, fear, and complexity that cancer sufferers and their loved ones know all too well.
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Sleepless Night2012
Jardin ... brings a restless intelligence and disciplined glee to Sleepless Night that far surpasses its cinematic influences.
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Whores' Glory2012
Whores' Glory demystifies trick turning with a bluntness and sneaky artistry that's sure to make even the most jaded of us choke on our next sitcom-hooker-joke chuckle.
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Buck2011
Despite these odds, Brannaman grew into a preternaturally gentle adult who channels hard-earned patience and compassion into his work.
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Hobo With a Shotgun2011
The setup could also be read as an allegory of/justification for Dubya's invasion of Iraq (think about it), but that presumes more of an engagement with the non-cinematic world than Hobo ever really displays.
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Paranormal Activity 32011
There's something to be said for giving people what they want, but in genre movieland, that strategy droops into lazy cynicism quicker than you can say Saw 3D.
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There Be Dragons2011
The geriatric pacing, flat-footed Old Hollywood pastiche, and Joffe's inexplicable penchant for tear-jerking Catholic mysticism make Dragons more punishing than a hundred Hail Marys.
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American Grindhouse2010
Nitpicky enough to please film-history nerds but lively in a way that should tickle the merely curious.
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Bill Cunningham New York2010
No passion for fashion is required to enjoy this absorbing portrait of legendary New York Times "On the Street" photographer Bill Cunningham, but a sense of history and tragedy might help.
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Black Death2010
The movie's real coup is in how it repeatedly shifts our allegiance from Christians to pagans, interrogating the unfathomably still-popular notion that barbarism is best countered with more of the same.
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The Human Resources Manager2010
Tender irony and dark humor abound in Israeli director Eran Riklis's latest account of bureaucracy colliding with burgeoning compassion.
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Bukowski: Born into This2002
Charles Bukowski, the bard of post-war L.A.'s working-class underbelly, was no ordinary cult writer, and John Dullaghan's thorough, compelling doc Bukowski: Born Into This does a credible job of showing why.
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Rollerball2002
It's almost enough to make Burton's Apes retread seem like a work of artistic ingenuity.
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No Such Thing2001
Too intensely focused on the travails of being Hal Hartley to function as pastiche, No Such Thing is Hartley's least accessible screed yet.
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Dark Days2000
Marc Singer's feted 2000 doc about a Manhattan subterranean community has lost none of its power since its debut.
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