Andrew here, yup it's Christmas and whatnot and you're probably trying to get into the festive mood. Before you commit to that, though, it's time for the next episode of LAMB Casting and we're going dark with Martin Scorsese's Taxi Driver. It's a gritty
Despite some interesting controversy two weeks ago, we got a couple of submissions. And here they are: If Jason Statham Started Making Disney Movies The Droid You're Looking For Bolly Hoo Ha Voting ends Monday, January 2nd at 11PM EST and the
URL: http://anotherplotdevice.com/ Site Name: Another Plot Device Categories: Reviews, General, Editorials, Humor, Lists Rating: R What is the main focus of your site? A site where I post one movie a day, preferably one that I love and just explain
URL: http://cine-apocalypse.com/ Site Name: Cine-Apocalypse Categories: Reviews Rating: R What is the main focus of your site? To review genre films from past and present and to show that film fans can write reviews and not work for a professional
I would like to ring in 2012 right over at Invasion of the B Movies...so I'm doing Reader Recommendations! All you have to do is read my post here and over on the right side is the poll. You pick what movies I should watch in January. The Top Ten winners
Jacques Rozier is one of the unfortunately forgotten filmmakers of the French New Wave. He finished his debut film, the excellent Adieu Philippine, only with difficulty and some monetary help from his friend Jean-Luc Godard, and afterwards he wouldn't
Chantal Akerman's first feature-length film is a striking, minimalist work about love, loneliness, desire and gender. Actually, "minimalist" doesn't begin to do justice to the film's narcoleptic pacing and sparseness of action. The film opens with a
Harry Lime. Harry Lime. Harry Lime. The name is spoken so frequently in Carol Reed's The Third Man that it becomes a mantra, a way of signifying the continuing importance of a man whose absence defines the film and drives its plot. The war is over, and
Munich is a film of exceptional moral ambiguity and inquiry from a director often known for his tendency to tie his films' morals up in neat little bows at the end. Steven Spielberg resists, for the most part, that temptation here, and the result is
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