Doug & Jacob unleash their unfashionably late ‘top five cinematic experiences of 2011’ lists upon you, the unsuspecting listenership, and engage in discussion upon the spiritual themes of two cinematic greats: Andrei Tarkovsky and Rich Christiano. Continue reading
This lineup is larger in scope and more ambitious than previous years: of the fifteen films in the main programme, more than half are Official Selections of the 2011 Cannes, Toronto, London, and New York Film Festivals—an impressive feat for such a small, localised venture. Continue reading
See this low-budget triumph not because it breaks new ground or because it’s emotionally devastating—it doesn’t, really, and it isn’t—but because its twin lead performances are so fantastically sincere. Continue reading
Michel Hazanavicius’ film charms for most of its 90-minute run time, but relies on a number of spectacular scenes to hold aloft a bare-bones plot. The film is, in the end, more of a pastiche than a genuine, heartfelt love-letter to silent cinema. Continue reading
There’s nothing particularly interesting or exciting about a story this uninspiring told in so relentlessly safe a manner. No wonder Alexander Payne’s comfy new indie finds itself near the top of the heap of Best Picture nominees. Continue reading
A few days out from the marathon, Doug & Jacob attempt to make sense of the mayhem within. B-grade awesomeness and cinegeek mouth-frothing abounds! Continue reading
They’re back! Doug discusses his Fantastic Fest & NYFF experiences; Jacob talks This is England ’86 and the interplay and future of film & TV, and the duo unpacks their feelings toward Drive. Continue reading
Wayne Wang’s twentieth motion picture—a story of sisterhood illustrated by the same duo of actresses, playing three generations of themselves in three eras: 1829, 1997, and 2011—is something of a flop. Continue reading
Steven Soderbergh, arguably one of the more interesting (and certainly among the most prolific) of modern American directors, attempts to give the virus-outbreak film a new sheen, but give us nothing much worth talking about, and way too many name-actors doing the talking. Continue reading
Josh Whiteman’s documentary displays the human side of a remarkably private individual whose work traded almost exclusively on the outward appearance of the almost famous. Continue reading
