Profil użytkownika robert-abele-los-angeles-times
We Came Home (2013)
We Came Home has its amateurish side, but it's effortlessly affecting when showing how music acts as an extended hand across generations and cultures.
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Zaytoun (2012)
It's just all too breezy to have any real effect.
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C.O.G. (2013)
For Sedaris fans, C.O.G. is a regrettably patronizing washout.
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Newlyweeds (2013)
The sights, sounds and sociological quirks of Lyle's and Nina's particular circle of existence are what give Newlyweeds its indie resonance, less a city symphony than an urban alt-fugue.
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Jayne Mansfield's Car (2012)
With actors this good, however, there's rarely a pinched expression, heartfelt speech or laugh line that isn't at least partly sold, even if the stunted-male psychologizing at the expense...
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Insidious: Chapter 2 (2013)
This busy-yet-dull sequel feels like Wan robotically flexing his manipulation of fright-film signposts, an exercise more silly than sinister.
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My Father and 'The Man In Black' (2012)
In the end, despite the clunky mix of narrative formats, My Father and the Man in Black makes for an illuminating alternate history of sorts to the Hollywoodized version of Cash's ascenda...
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Hell Baby (2013)
Its modest (if occasionally gross-out) stabs at genre parody rarely insult our intelligence and even allow for the kind of retro deadpan silliness Mel Brooks used to underline his louder ...
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Passion (2012)
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Passion will only rekindle your love affair with De Palma to the extent that his luridly artisan chiller classics are readily available afterward for another viewing.
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The United States of Football (2012)
A structural, chronological mess of information and emotion, so chaotically shot and edited to move from stat to image to sound bite that it suffers from its own concentration issues.
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