3602012
With a multilingual cast of mostly unfamiliar faces, plus a few stars, 360 feels too abstract, orchestrating break-ups and hook-ups in a passionless vacuum.
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Americano2012
Though Demy's approach breaks no new ground, directorially speaking, Martin's personal journey finds a fresh angle on a universal piece of wisdom.
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Bestiaire2012
erving up artfully framed, static-camera compositions of the animals within their mismatched environs, Cote's actuality-style catalog of context-free tableaux invites auds to free-associate with the scenes put before them.
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Butter2012
A wicked Midwest satire with razor blades stashed beneath its bright candy-apple surface.
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Crazy Eyes2012
These two non-lovers have real chemistry, and it's hard not to be intoxicated by the strange cocktail of watching them together, even as the story appears to be going nowhere.
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In Our Nature2012
Savelson's approach feels old-fashioned and perhaps even a little stodgy.
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Little Birds2012
Little Birds is such a typical Sundance movie you almost don't need to see it to know where it's headed. To skip, however, would be to miss the arrival of promising new helmer Elgin James and gifted up-and-comer Juno Temple.
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Albert Nobbs2011
It's a career-crowning role for Glenn Close. Too bad the film is such a drag.
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Dirty Girl2011
What begins as a politically incorrect, Mean Girls-esque satire constantly shifts tone and focus as director Abe Sylvia pursues a style as jumbled as his narrative.
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There Be Dragons2011
Dragons may not be perfect, but it plays to the helmer's strengths, demonstrating an increasingly rare sense of scope and pageantry best served by the bigscreen.
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We Were Here2011
We Were Here documents the epidemic through a powerful combination of first-hand testimony, archival photography and TV news footage.
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Cold Weather2010
Pic represents considerable progress for Katz, a founding member of the mumblecore movement.
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Henry's Crime2010
Part of what makes Henry such a frustrating hero is how little he reveals of his emotions.
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Marwencol2010
Malmberg applies stylistic and structural tricks to create the most compelling portrait possible, reflecting a respectful but very different agenda from that of his subject.
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Waste Land2010
One of the powers of great portraiture is its ability to make us wonder about the complete strangers captured within enigmatic works of art.
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Alexander the Last2009
At a slight 72 minutes, the DIY director's latest bout of psychosexual titillation (which is being made available on-demand in conjunction with its SXSW fest premiere) feels undercooked.
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Splinterheads2009
Attempts to compensate for its too-familiar romantic setup by defining its characters through idiosyncratic hobbies and traits.
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Yesterday Was a Lie2008
James Kerwin's conceptually ambitious low-budget debut offers stunning black-and-white HD cinematography, a sultry jazz score and a refreshingly high-minded script, but feels hopelessly amateurish in the acting department.
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Beautiful Losers2008
A celebration of Peter Pan-like spirits who felt the freedom to express themselves before anybody cared.
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Heckler2007
Addis and Kennedy have tapped into a rich subject here.
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Memory2007
Considerably better -- and far more intriguing -- than most entry-level horror pics, marrying a retro B-movie setup with the ghostly obsessions of recent Asian extreme cinema.
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