Profil użytkownika joshua-rothkopf
Muscle Shoals (2013)
The film manages to span from feisty Wilson Pickett to Confederate-flag-flaunting Lynyrd Skynyrd, but if ever a music doc needed insight from the fans who went along for the ride and forg...
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We Are What We Are (2013)
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Outside of its cracked psychology (well conveyed by papa Bill Sage), We Are What We Are is horror leftovers, neither inedible nor piping hot.
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Rush (2013)
The movie leans on symbolic imagery that’s alternately tired and ridiculous: Hunt’s impatiently flicked cigarette lighter (yes, he’s a candle waiting to be lit) or a black-widow spider cr...
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Blue Caprice (2013)
Blue Caprice is probably what more post-9/11 cinema should have been: desperate for explanations, inchoate and wrapped in unspoken loneliness. Even though we can stomach it better a decad...
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A Teacher (2013)
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Less a master class in inappropriate high-school relationships than the CliffsNotes version, A Teacher isn’t going to tell you anything Nabokov or "Election" didn’t.
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Our Nixon (2012)
Having a backstage view of the momentous trip to China adds color, but the real takeaway here is a tone of dawning tragedy, sourness sneaking into even the most innocuous of visual records.
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The World's End (2013)
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The beauty of this movie, both a nostalgic romp and a futuristic scream, is its stubborn insistence on getting all the trapped-in-amber details right.
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Prince Avalanche (2013)
Prince Avalanche — Green has admitted that the unrelated title came to him in a dream — evaporates after a while, although it’s never less than quizzical and charming.
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The Machine Which Makes Everything Disappear (2012)
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The film captures a few surprising similarities to the West: One dead-eyed club kid says she’s “tired of everything,” while a hopeful young actor seems to be trying out for her own realit...
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The Canyons (2013)
She (Lohan) isn’t the best thing about this awful, lounged-out drama — it has no best thing — but in her defense, Lohan has been atrociously directed, allowed to get away with the worst a...
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