Profil użytkownika diego-costa
Any Day Now (2012)
Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family.
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In Our Nature (2012)
In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
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King Kelly (2012)
The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist.
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Walk Away Renee (2011)
It's Jonathan Caouette's insistence in going back to his nightmarish old footage, or the old footage that he purposefully renders nightmarish, that seems more interesting.
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Starlet (2012)
The film works as a charming aesthetic exercise with its jerky camera and inadvertent cuts, as a contemplation on intergenerational female bonding.
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A Man's Story (2010)
A Man's Story does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality - a personality whose pettiness Boaten...
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Sassy Pants (2012)
Sassy Pants has a slightly ludic atmosphere akin to another tale of teen alienation, Dear Lemon Lima, but it unfolds like a fable in which only Bethany doesn't feel like a canned caricature.
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The Iran Job (2012)
Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
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BearCity 2: The Proposal (2012)
Doug Langway's film is often too cheesy to, well, bear.
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Diana Vreeland: The Eye Has to Travel (2011)
The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.
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