An amazing display of mashup skills that works brilliantly as both a commentary on the current state of music and copyright and as a musical piece.
I think the reason I reacted so strongly to the movie is that it was very nostalgic for me.
Although the album lacks some of the fire that Jones packs into her live performance, I prefer the subtler performances here.
For the most part, it’s an adventure that is not as worth taking as all the hype might lead you to think.
This album glows like a little gem, and is there whenever I need comforting or just want to give my ears a treat.
On this mostly instrumental EP, Dirge trudges along with heavy drums and mellow guitar and a bit of grief.
Unapologetically harsh at times, it’s not particularly pleasant stuff, but for what it is, it’s really quite good.
Although the film has several double crosses and twist or two, it’s the furthest thing from a crime thriller that you could find.
Niceland is not a bad movie, but it fails simply because it doesn’t seem to trust the audience at all.
As the film continues, it gradually becomes a treatise on the all-too common topic these days of modern alienation.
‘The Ninth Day’ is a thoroughly engaging and thought-provoking thriller from start to finish.
The film never lives up its vast potential but consistently underperforms right through the lackluster ending.
Put mildly, I found this film a complete waste of time.
Undertow should serve only to further cement David Gordon Green’s reputation as a young filmmaker.
Like the classic French crime thrillers, Automne exudes coolness and atmosphere.
No doubt about it, Innocence is a very impressive work, but I’m lefting wanting even more.
Of all of the films I saw at this year’s Toronto International Film Festival, The Overture was easily the most sentimental and honest.
House of Flying Daggers has moments of brilliance that are simply unmatched.