The Black Dragon’s Revenge (The Film Detective, NR)
Considering the battles are coherent, easy to see, and the punches and kicks seem real, it boggles the mind to wonder how the rest of it could fail so entertainingly.
NR)
The Winter (IndiePix Films, NR)
It takes the viewer into a world of nightmares and dreamscapes where past and present, and truth and imagination, all run together.
Bayou Blue (Garden Thieves Pictures, NR)
Instead of trying to ignite outrage, directors Lambert and McMahon have created a calm film about a terrible subject.
The Forgiveness of Blood (Sundance Selects, NR)
The Forgiveness of Blood doesn’t feel like a typical American indie film, and I mean that in the best way.
My Sweet Suicide (My Hero Productions, NR)
My Sweet Suicide incorporates one film archetype and anticipates another, while making the most of its modest budget and showcasing the talents of the lead actors.
You Got to Move: Stories of Change in the South (Milestone, NR)
The film is totally sincere but also a bit boring, as if the excitement of leading societal change had to be dulled down lest revolution start breaking out all over.
Tomboy (Rocket Releasing, NR)
The film hinges on Héran’s performance, and she pulls it off rather remarkably.
Nora’s Will (Menemsha Films, NR)
He’s never really stopped loving Nora, a fact which becomes clearer as he starts to remember their life together as a young couple.
Antichrist (IFC Films, NR)
I don’t object to either violence or sex in film; the question is what the director does with them.
Earth Days (Zeitgeist Films, NR)
Despite more than 50 years of environmental activism, the battle is far from won.