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Only God Forgives

by M. Faust
It’s not an entirely apt analogy, but in many ways Danish filmmaker Nicolas Winding Refn is the Quentin Tarantino of Euro cinema. His nihilistic films, beginning with 1996’s Pusher, combine violent, often gruesome content with highly stylized technique. American audiences are most likely to know him for Drive, which starred Ryan Gosling as a Hollywood stuntman and getaway driver who gets in trouble with gangsters. The version released in the US was shorn of some of its more extreme violence.

Crystal Fairy

by George Sax
Sebastian Silva’s Crystal Fairy is set in the present, but with very minor adjustments it could be reaching back to 40 or so years ago, to hippiedom’s heyday. The title character (Gaby Hoffmann) might even be a flower child from San Francisco’s late-1960s Summer of Love.

We're the Millers

by George Sax
The creatively low-power premise motoring We’re the Millers might have counted as “high concept” in Hollywood executive suites not so long ago. It didn’t take much. And it has to be conceded that it may be a first. It’s also worth keeping in mind that the possibility of singularity does not necessarily confer merit. You’ve got to execute, babe. And stem to stern, We’re the Millers is wince-making awful.

Lovelace

by M. Faust
It’s hard to believe that anyone with any interest in the once-notorious 1970s porn star Linda Lovelace will learn much from this new retelling of her sad career. It’s equally hard to imagine that anyone who doesn’t already know this material will much care. We’ve seen the same tale over and over again—this was only the first version of it.

Elysium

by M. Faust
In the year 2154, according to a detail in this new science film from the creator of District 9, advances in medical science will lead to a device called a MedBay. Lie down in it and it will diagnose your illness or injury and repair it.



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