In Monogamish, director Tao Ruspoli (“Being in the World”) explores the benefits and constraints of the union of marriage while grappling with his own public divorce. The film — part documentary, part self-help journey — opens with Ruspoli penning a letter to relationship and sex columnist Dan Savage. The camera captures Ruspoli as he hand…
Whether or not it is designed as an allegory of modern Russia, no film in recent memory has examined the growing emptiness of human relationships with such expressive force as Andrey Zvyagintsev’s (“Leviathan”) Loveless, a heart wrenching drama about a couple on the brink of divorce whose emotional neglect of their son leads to devastating…
Let me be blunt for a second. “Blade Runner” never needed a sequel. Yes, I know. It’s a tired statement, I get sick of hearing it too. You could argue most movies don’t need sequels. But “Blade Runner” really did not need one, more so than others, and there are a number of factors contributing…
Both the original “The Houses October Built” and its sequel, The Houses October Built 2, open with quotes about the dark, primal volatility of human nature. The first cites Walter Jon Williams’ well known “I’m not afraid of werewolves or vampires or haunted hotels, I’m afraid of what real human beings do to other real…
Surprisingly again, Reese Witherspoon (Lead Actress Oscar winner for “Walk the Line”) has settled for signing on the dotted line to partake in a woefully rudimentary romantic comedy. Usually considered somewhat of a spark plug in her plucky-type of roles (“Legally Blonde” being the most revered), Witherspoon is curiously reduced to playing what amounts to…
From Andrew Wiest, director of the Christian fable “The Adventures of Chris Fable” (no, really), a bargain bin supermarket exclusive from 2010, comes The Forlorned, an inept, micro-budget horror movie. It aims low and delivers; and although it fundamentally fails as a horror movie — or indeed any kind of a movie seeking to tell…
It’s funny what language can do, the unintended irony behind words and concepts and colors that were likely never part of any authorial intent. But, then again, maybe they were. That’s the inexhaustible fertility of art; it transcends, whether it wants it or not, intentions. That’s the case with Spanish, still sprouting in a place…
