Bittersweet, sensitive and surprisingly funny, Sundance Shorts touring program spans genres for a gymnastic study of just how agile film, as a medium, can be.
Displays of splendor are complemented with equally gory scenes of zombie violence.
The film uses the same formula followed by every cliché love story ever, with the relationship, not surprisingly, developing way too quickly.
With the humor of “The Big Lebowski” and the anti-climatic aimlessness of “Inside Llewyn Davis,” this is Joel and Ethan operating at peak Coen.
If you’re rolling your eyes at this article and already typing out an incensed response, consider that you might just be acting like the people who were wrong about “Avatar.”
“Jane Got a Gun” but she doesn’t really use it.
Pine and Affleck's subtlety adds a sense of realism; they recognize that the men did it for the greater good because it was their duty — not because they foresaw their efforts displayed on the big screen.
While any conversation with Hitchock or Truffaut would be valuable, it’s the candid rapport between the two that makes their conversation so influential.
A short film must be wholly unique, something never before seen on the screen, or at the least a very original take on something that has.
Instead of basing his film on his own self-importance, his self-sacrifice in the name of "truth," Spike Lee offers us a fantastical but equally salient portrait of America.