December (2012)

Amour – Directed By Michael Haneke

“Equanimously unsparing, aesthetically unsanitized, entirely unsentimental and exquisite in every respect required to live up to its title.” -d


November (2012)
Holy Motors – Directed By Leos Carax

“Cinema’s suicidal love letter to its star-crossed muse and most necessary collaborator whose craft and commitment serves to illuminate the cosmic toll of mining the soul.” -d

October (2012)

Cloud Atlas – Directed By Tom Tykwer, Andy Wachowski and Lana Wachowski

“A post-postmodern, meta-movie/manifesto masquerading as camp, scored as a cubist cacophony and masterfully conducted into a immersive cinematic symphony.” -d


September (2012)
Compliance – Directed Craig Zobel

“A cold and withholding provocation that unsympathetically ensnares a reaction, forcing any response to feel like a necessary breath in the face of a suffocating complicity.” –d

August (2012)
Red Hook Summer – Directed By Spike Lee

“Cornered by a characteristically colorful communal character study with a coming-of-age cross to bear, Spike Lee plays possum from the pulpit, deliberately weathering the full brunt of a fire and brimstone barrage before answering back with a crippling blow.” –d


July (2012)
Dark Horse – Directed By Todd Solondz

“Solondz subverts his own brand of cynicism with an introspective subtlety that short-ciruits our snarkiest instincts and repositions the dark solipsism of his central character in the light of an earned empathic awe.” -d

June (2012)
Moonrise Kingdom – Directed By Wes Anderson

“Quite simply the most “Wes Anderson” Wes Anderson movie Wes Anderson has ever directed.” -d

Theatrical Release Poster


May (2012)
I Wish (Kiseki) – Directed By Hirokazu Koreeda

“A master’s mannered precision makes monument the most sullen, introspective, desperate and liveliest scenarios of youth, conveying each with a sublime and sustaining vibrancy.” –d


April (2012)
The Cabin In The Woods – Directed By Drew Goddard

“This seemingly derisive assault on audience expectation is actually an incisive and admirably alienating assessment of audience entitlement that earns its divisive distinction by drawing blood.” -d


March (2012)

The Raid – Redemption Directed By Gareth Evans

“An agonizing negation of pretense wherein the audience’s full attention is commanded by close-quarters combat and held captive with the prospect of violent death.” -d


February (2012)

Rampart – Directed By Oren Moverman

“Adding to his deft, unsentimental touch a few whacko flourishes; Moverman spray paints (in delusionally heroic strokes) his coda to an outmoded era of systemic machismo and accepted brutality.” –d


January (2012)

The Grey – Directed By Joe Carnahan

“Yes, it’s Liam Neeson vs. Wolves but it’s also Liam Neeson as John Ottway vs. himself, not to mention a seriously layered and contemplative work vs. our seriously limited expectations.” -d