There’s a palpable tension running through James Marsh’s high-wire documentary, a sickening sense of dread that has nothing to do with French provocateur Philippe Petit or his 1974 tightrope walk between Manhattan’s newly-built Twin Towers. It comes from the knowledge of what will eventually happen
From the opening moments in a tranquil forest where Jorge (Daniel Candia) works as a caretaker, Alejandro Fernández Almedras infuses To Kill a Man with his quiet reticence. A careful, self-contained man, he’s unnerved by a brawny bully, who taunts and robs Jorge as he
Quincy Rose bookends his first feature with scenes of himself jogging through dark L.A. streets, Miles to Go before he sleeps. Exhausting nocturnal runs are part of a routine that stymied writer Miles (Rose) adopted after breaking up with his ideal girlfriend, Julia (Jen McPherson).
The shiny, commercial face of animation – those big-budget, family-oriented, computer-generated spectacles – represents only a small part of the picture. Much of animation’s creative spark comes from the underground, where art is made for art’s sake and the brothers Quay are heroes. Twins Stephen
Ruba Nadda followed up her breakthrough film Cairo Time with thrillers for its two leads: Inescapable for Alexander Siddig, and now October Gale for Patricia Clarkson. Both rely on character-driven drama more than traditional action, exploring the intricacies of family relationships and the repercussions of