Several of the short films cover the daily routines of individuals with unique occupations, which becomes repetitive.
The film’s primitiveness makes is extremely boring.
Cohen chooses not to make a clear and firm theses so as to not dictate the viewer's thoughts not he film as a whole.
O’Reilly is a master of emotional responses.
At times dark and eerie, and at times whimsical, Ackerman shows us the daytime (and occasional nighttime) New York of Sidney Lumet and Woody Allen, Martin Scorsese and Spike Lee.
Renee Tajima-Peña only makes films when something makes her mad.
What is known is almost every scene in “The Room” begins with someone entering a space, and ends with someone leaving it, and if that is not symbolism then I do not know what is.
Tamara Erde introduces the film by immediately presenting the audience with her thesis — a huge discrepancy exists between the actual history of Israel and Palestine and what is taught.
The flashback-heavy narrative framework allows for an economical use of screen time, a multi-character reconciliation of guilt and loss and an expose into teen girlhood.
The fight choreography in ‘Sword of Destiny’ is no longer the semi-supernatural dance that elevated the original movie above the typical martial arts film.