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2010 Tribeca Film Festival (April 21st - May 2nd)




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Interview with Gary Winick, director of Letters to Juliet (Closing Night Film)


Shrek Forever After
Directed by Mike Mitchell.
(*Opening Night Film*)



Shrek (voice of Mike Myers) lives peacefully with his beloved wife, Fiona (voice of Cameron Diaz), in a cottage with their baby triplets while still good friends with Donkey (voice of Eddie Murphy) and Puss in Boots (voice of Antonio Banderas). He’s tired of his mundane life of fame and years for the old days when he used to be an ogre that scared all the townspeople. Rumpelstiltskin (voice of Walter Dohrn) gives him an offer that he can’t seem to refuse: spend an entire day as a scary ogre in exchange for one day from his past. Little does Shrek know that the Rumpelstiltskin (voice of Walt Dohrn) has chosen to take away the day that Shrek was born. He enters an alternate kingdom where Rumpelstiltskin reigns as the dictator of Far, Far Away and where Fiona, Donkey and Puss in Boots no longer recognize him. In fact, Puss-in-Boots is too obese to fit into boots, so he’s just plain Puss. Shrek must kiss his true love, Fiona, before the next sunrise to restore the kingdom back to the way it was before. Although funnier and more engaging than the painfully inane and juvenile Shrek the Third,this fourth installment of the franchise doesn’t have any particularly memorable or gutbustingly hilarious scenes offered for adults. Little kids, on the other hands, will find themselves amused at times, but they might be scared by the kind of life-threatening dangers that Shrek encounters. The nods to The Wizard of Oz are clever along with the satiric qualities of Rumpelstiltskin. Mike Mitchel keeps the pace moving along briskly and includes a well-chosen soundtrack and nifty CGI effects filled with vibrant colors with lots of attention to detail in the foreground and background. You’ll find a few heartfelt moments here because, inevitably, based on the screenplay’s standard formula, Shrek must go through the adventures to learn valuable life lessons, thus becoming a changed ogre. At an ideal running time of 1 hour and 33 minutes, Shrek Forever After is somewhat clever, heartfelt and much darker than its predecessors, but it’s ultimately forgettable and not nearly as diverting as it could have been for kids and adults simultaneously.
Number of times I checked my watch: 2
Released by Paramount Pictures.
Opens May 21st, 2010 nationwide.



The Lottery

Directed by Madeleine Sackler.



Featured in the Tribeca Talks section

This important and provocative documentary follows four families as they enter their kids into the admission process for the Harlem Success Academy, a prestigious private charter school that not need to adhere to union rules and regulations. Each year, the admission is open to any families who want to send their kid to that charter school which would provide them with a better education than public schools offer. A lottery system must take place because demand exceeds supply, so, according to the law, the charter school must randomly select the students. Only 16% of total number of applicants get selected which means that a whopping 84% of them lose the lottery to the game of chance. Their son or daughter might be very smart, but, when it comes down to it, the enrolment in the Harlem Success Academy all comes down to pure luck. Director Madeleine Sackler chooses to document families of four children, Ameenah, Christian, Greg Jr. and Eric Jr., from Harlem and the Bronx, as they struggle through the admissions process which proves to be filled with tension up until the very end where they join other families in an auditorium while waiting and hoping for their child’s name to be called. The charter school’s founder and CEO, Eva Moskowitz, along with Joel Klein Chancellor of the New York City Department of Education, want to get rid of a Harlem public school and replace it with a charter school much to the dismay of the union leaders, one of whom, during a public hearing, dares to disbelieve Moskowitz when she says she lives and even grew up in Harlem. Interviews with politicians (i.e. with the mayor of Newark), principals and teachers from the charter school as well as from public schools, all help to shed further light on the multifaceted issue of whether charter schools are truly beneficial and necessary. What’s missing, though, is more interviews with those who are against charter schools and a thorough assessment of all of the interviews, testimonies, fact and figures which would have offer practical solutions to the escalating tensions between public and charter schools. At least The Lottery, at a running time of 1 hour and 21 minutes, manages to be an eye-opening, provocative and heartfelt documentary that will inspire you to debate and discuss the issue of charter schools openly and intelligently.
Number of times I checked my watch: 1
Released by Variance Films.
Opens June 11th, 2010 at Big Cinemas Manhattan.


Each narrative film in the sections below passes the Heart-Brain-Courage Meter and doesn't suffer from an identity crisis because it excels in its genre or blend of genres without faltering or losing any entertainment value:


Cinemania
Spork
Ticked-Off Trannies With Knives


Discovery
Elvis & Madonna
The Infidel
The Trotsky


Showcase

Heartbreaker

Directed by Pascal Chaumeil.



Alex Lippi (Romain Duris) works for a company where he must break up couples by seducing the women, but, only when they’re truly unhappy and, as a general rule, he doesn’t actually go as far as sleeping with them. With the help of his sister, Melanie (Julie Ferrier), and her husband, Marc (François Damiens), the company’s co-owners, he has always succeeded with his assigned missions. A new client, Van Der Becq (Jacques Frantz), offers him a large sum of money if he’s able to separate his daughter, Juliette (Vanessa Paradis), from her fiancé, Jonathan (Andrew Lincoln), within ten days. Alex becomes her chauffeur to try to get to know her better, but his biggest challenge is that, for the first time, he must woo a woman who at least appears to be happily in love with her man. The lengths to which Alex goes to accomplish his goal won’t be spoiled here, but it’s worth mentioning that the comedy ranges from slapstick to just plain offbeat and whacky without veering toward downright silliness as long as you’re willing to suspend your disbelief. Romain Duris has impeccable comedic timing and oodles of charm, so it’s pleasantly diverting to watch him sink his teeth into such a fun role—although he did get to show off his comedic chops in Molière and Russian Dolls as well. A great romantic comedy ought to be not only funny, but also grounded in reality at least to some extent, which can be said for Heartbreaker. Alex and Juliette have great chemistry together, and, even though the screenplay by Laurent Zeitoun, Jeremy Doner and Yoann Gromb does have its fair share of contrived, oversimplified and cheesy scenes especially toward the end, there’s never a dull moment to be found. Director Pascal Chaumeil maintains an appropriately brisk pace and includes many picturesque shots of the French Riviera, a.k.a. Côte d'Azur. The sold-out audience were frequently laughing out loud and cheering for Alex the whole time, so you can be rest assured that i>Heartbreaker is a crowd-pleaser. At a running time of 1 hour and 45 minutes, it’s a refreshing, pleasantly diverting romantic comedy that offers plenty of laughs, escapism and charm.
Number of times I checked my watch: 0
Released by IFC Films.
Opens September 10th, 2010 at the IFC Center and Lincoln Plaza Cinemas.



Micmacs

Directed by Jean-Pierre Jeunet.



In French with subtitles. Bazil (Danny Boon) works as a video store clerk whose father was killed in a land mine accident back when he was a child. One night while at work, a stray bullet enters his head and gets lodged in there, nearly killing him. He loses his job and his apartment when he leaves the hospital. It turns out that the two military weapons corporations where the stray bullet and the land mine were manufactured happen to be located within the same city. Bazil now does everything in his abilities to exact revenge on the CEO’s of both companies, Marconi (Nicolas Marié) and Fenouillet (André Dussollier). He befriends a group of bizarre people who live beneath a junkyard, and persuades them to help him on his mission. The inventors include Buster (Dominique Pinon), a human cannonball, Elastic Girl (Julie Ferrier), a contortionist, Calculator (Marie-Julie Baup), a math whiz who’s capable of measuring anything just by using her brain, Tiny Pete (Michel Crémadès), an inventor, Remington (Omar Sy), an ethnographer, ex-con Slammer (Jean-Pierre Marielle), and Mama Chow (Yolande Moreau), the group’s matriarch. None of the details of their adventures together will be spoiled here, but it’s worth noting that their revenge tactics are outrageously funny, twisted and very clever. Director/co-writer Jean-Pierre Jeunet has a knack for coming up with brilliantly bizarre visual gags, dark humor and eccentric characters which you’ll find in abundance here. Keep in mind, though, that the hilarious scenes come at you at such a fast rate that you may not notice all of them while other might go over your head because they’re lost in translation. Not surprisingly, Jeunet fills Micmacs with stylish cinematography, visual effects and set designs that provide plenty of eye candy. Many of the comedic sequences veer toward silliness and require a heavy dose of suspension of disbelief, but there’s never a dull moment to be found. At a running time of 1 hour and 44 minutes, Micmacs is imaginative, outrageously funny, daring, delightfully twisted and filled with eye-popping visual panache.
Number of times I checked my watch: 1
Released by Sony Pictures Classics.
Opens May 28th, 2010 at the Angelika Film Center and AMC Empire 25.



Ondine

Directed by Neil Jordan.



Syracuse (Colin Farrell), a divorced father, works as a fisherman in a small town off the coast of Ireland. He takes care of his wheelchair-bound daughter, Annie (Alison Barry), who suffers from a kidney ailment. One day while wishing out in the sea, he finds an enigmatic woman (Alicja Bachleda) inside the fishing net. She claims that her name is Ondine and has no memory of how she ended up inside the net or who she is for that matter. Syracuse believes that she must be a mermaid, a.k.a. a selkie, because he found her in the sea and she ends up bringing him good luck. He gradually falls in love with her, and she, not surprisingly, bonds with Annie. Meanwhile, Syracuse struggles to deal with his alcoholism as he confesses to a local priest (Stephen Rea). Tensions wax when a mysterious stranger, Vladic (Emil Hostina), shows up desperately searching for Ondine, he may either be her Selkie husband or, perhaps, her human husband if she’s not actually a Selkie. Writer/director Neil Jordan, best known for directing The Crying Game and Interview with the Vampire, has woven a very compelling narrative that alternates between light and dark elements. On the one hand, there’s the dark mystery surrounding Ondine’s past and her true identity which Jordan wisely chooses to unravel slowly so as to maintain suspense and intrigue. On the other hand, the blossing romance between Syracuse and Ondine feels tender and heartfelt while Ondine herself comes across as not only genuinely easy on the eyes, but also very charming and charismatic. The friendship between Ondine and Annie feels very endearing and, most importantly, uncontrived. Jordan also includes exquisite cinematography as well as a healthy dash of comic relief in the form of dry humor when it comes to the confessions between Syracuse and his priest. Were the screenplay written by a less competent writer, it would have felt uneven, but, fortunately, Jordan finds just the right balance of tones so that you’ll find it easy to be immersed in the narrative even as it takes an unexpected turn later on. At a running time of 1 hour and 51 minutes, Ondine manages to be intriguing, bittersweet, tender and refreshingly unpredictable with beautiful cinematography and a radiant performance by Alicja Bachleda.
Number of times I checked my watch: 1
Released by Magnolia Pictures.
Opens June 4th, 2010 at the Landmark Sunshine Cinema.




Spotlight

Get Low

Directed by Aaron Schneider.



In 1930s Tennessee, Felix Bush (Robert Duvall), has lived as a hermit in his secluded home for the past thirty years. The local townspeople, including Buddy Robinson (Lucas Black) and Carl (Scott Cooper), can be found either throwing rocks at his window, deriding him or making up stories about him. One day, he realizes that he’s imminently going to die, or euphemistically, to “get low”, so he goes into town to do something that no one has done before: pre-paying for his very own funeral ceremony where he plans to invite all the townspeople and to confess to them his true stories, thereby debunking all the stories that were passed around about him. He also plans hear everyone’s stories about him and to seek forgiveness from them for his past sins, not of which will be spoiled here. It turns out that Buddy works at a funeral home where he and his opportunistic boss, Frank Quinn (Bill Murray), hope to make a lot of profit from this new business venture. Felix reunites with his former lover, Mattie Darrow (Sissy Spacek), who’s now a widow, but rekindling their flame is easier said than done because of Felix’s troubled past. Bill Cobbs plays Reverend Charlie, a friend of Felix who refuses to speak at his funeral party. The screenplay by co-writers Chris Provenzano and C. Gaby Mitchell treads too much water before it starts to feel even remotely engrossing because it doesn’t provide you with information from Felix’s past until the actual funeral party itself. Until then, the only suspense is trying to figure out what sins Felix actually committed in his past, but you’re not given enough of a reason to care about him to begin with. Robert Duvall does give a well-nuanced, lowkey performance as does the always-reliable Sissy Spacek. Both of them add some gravitas while Bill Murray provides the much-needed, dry, offbeat humor that won’t make you laugh-out-loud per se, but just lightly chuckle at times. Director Aaron Schneider maintains a slow pace that’s too slow at times because it makes the film drag, although it does help to let you absorb the scenery and to take notice of the authentic-looking set/costume designs. At a running time of 1 hour and 40 minutes, Get Low is poorly-directed and often drags while lacking palpable tension. Robert Duvall and Sissy Spacek’s well-nuanced performances can’t save it from sinking into a mostly forgettable, stale drama.
Number of times I checked my watch: 3
Released by Sony Pictures Classics.
Opens July 30th, 2010 at the Regal Union Square 14 and Lincoln Plaza Cinemas.




World Narrative Feature
Loose Cannons
When We Leave
The White Meadows


Each documentary below excels in both form and content, and has found the right balance between entertaining the audience and provoking them emotionally as well as intellectually:


Documentaries
Arias With a Twist
Budrus
Earth Made of Glass

Joan Rivers: A Piece of Work

Directed by Ricki Stern and Anne Sundberg.



This wildly entertaining, hilarious and surprisingly moving documentary focuses on the life and work of 76-year-old comedian and television personality Joan Rivers. On stage while she’s performing her stand-up comedy routines she projects fearlessness, charisma, energy and plenty of pizzazz. She’s relentlessly fierce and irreverent when it comes to her sense of humor which often results in uproarious laughter from her open-minded audiences. If you’re familiar with her work, you’ll already know that she started out as a thespian in the play Seawood before performing in comedy clubs during a time when female comedians weren’t so vulgar and sexually explicit in their comedy routines. In many ways, Rivers broke through that barrier and paved the way for many other brave female comedians nowadays, such as Kathy Griffin who considers Joan to be her inspiration. River gained a lot of fame through her appearances on The Tonight Show hosted by Johnny Carson, but their friendship took a nosedive when she accepted to host a rival show, The Late Show Starring Joan Rivers. Soon after, her business partner and husband, Edgar Rosenberg, committed suicide, yet she continued to make her fans laugh as she remained a television personality. Co-directors Ricki Stern and Annie Sundberg do an impeccable job of providing you with background information about Joan Rivers’ uphill battles as a comedian as well as shedding light on what she has learned from all of her struggles. Sociologist Erving Goffman once noted that everyone has a frontstage life and a backstage life. Stern and Sunderberg gives a rare glimpse of what Rivers is truly life backstage behind that obstructing curtain. Backstage, Rivers maintains her razor sharp humor, boldness and panache, but, most importantly, she comes across as an honest, intelligent, self-aware and sensitive human being. She candidly admits that no one has ever called her “beautiful” and that she knows that without continuing to work so diligently every day from morning 'til night, she can easily become unemployed which is her greatest fear. If you’ve never seen Rivers without her makeup on, well, now’s your chance. At a running time of only 1 hour and 24 minutes, Joan Rivers: A Piece of Work manages to be a gut-bustingly funny, endearing and unflinchingly honest documentary that finds just the right balance between entertaining the audience and provoking them intellectually as well as emotionally. Joan River’s perseverance, audacity and sheer brilliance is an inspiration for everyone.
Number of times I checked my watch: 0
Released by IFC Films.
Opens June 11th, 2010 at the IFC Center and Lincoln Plaza Cinemas.


My Trip to Al-Queda
The Two Escobars
Visionaries
The Woodmans


________________________________________

Cairo Time

Directed by Ruba Nadda.



Juliette Grant (Patricia Clarkson), a magazine writer, travels from America all the way to Cairo, Egypt, where she expects to meet her husband, Mark (Tom McCamus), a U.N. official working in Gaza. As it turns out, Mark’s arrival in Cairo gets delayed for a few days because of his temporary detainment in Gaza, so he sends his friend/security guard, Tareq (Alexander Siddig), to assist her throughout her brief time spent in Cairo. She stays at a luxurious hotel overlooking the Nile River, and, not surprisingly, experiences jet lag initially. The city of Cairo becomes a character of itself with its beauty landscapes and architectures which contrast the excessive heat and humidity which makes it strenuous to walk around there during the daytime. Tareq becomes her friendly tour guide, plays chess with her, takes her to sight-seeing trips around Cairo and even brings her as a guest to a wedding of the daughter of his former lover. Gradually, he and Juliette fall in love. Writer/director Ruba Nadda unfolds the love story in such a gentle, unpretentious fashion that you can’t help but sense the passion between Tareq and Juliette. Is it true love or just a fleeting romance? If this were a Hollywood film, they’d be having sex right away and Juliette would simply leave her husband who probably would’ve come across as a jerk, but, instead, Nadda aims for realism because the solutions to Juliette’s inner struggles with the love of her husband and of Tareq are handled with sensitivity and complexity. Nadda wisely chooses not to introduce Mark to you until a brief scene at the very end, so it’s up to you to imagine what he’s like up until that point. Patricia Clarkson looks absolutely beautiful and luminous as Juliette. Her performance radiates with panache, warmth and charm while subtlety hiding Juliette’s innate sadness as a lonely wife who has spent too much time away from her husband. You’ll feel like you’ve gotten to know Juliette, and, by the time the film ends after 1 hour and 30 minutes, you’ll wish you could have gotten to know her even more. Cairo Time ultimately manages to be a gentle, bittersweet love story boasting a picturesque, enchanting travelogue of Cairo and a radiant, well-nuanced and engrossing performance by the genuinely beautiful Patricia Clarkson.
Number of times I checked my watch: 2
Released by IFC Films.
Opens August 6th, 2010 at the IFC Center and Lincoln Plaza Cinemas.



The Disappearance of Alice Creed

Directed by J Blakeson.



Danny (Eddie Marsan) and Eddie (Martin Compston), two ex-cons, kidnap a young college student, Alice Creed (Gemma Arterton), tie her up, throw her into a van and drive off into an apartment building where they hold her hostage for ransom. They tie her to a bed, blindfold her, gag her, strip her naked and photograph her. It turns out that Danny and Eddie do have some kind of motive: her father is a millionaire. Thus far, the plot sounds like a standard thriller with standard good vs. evil characters, but just when you think it’ll stay so by-the-book, it suddenly takes unexpected turns that puts everyone’s motives, relationships with one another and morality into a whole new perspective. Danny seems to dominate over Eddie like an abusive father, and it’s suspenseful and intriguing to observe how the dynamics of their relationship evolves throughout the course of the film because there’s more to each of them than meets the eye. You might end up hating Eddie one minute and liking him the next. Writer/director J Blakeson has a knack for combining suspense, drama, thrills and terror with just the right splash of black, twisted humor. Some of the torture sequences, although not particularly graphic in nature, do veer toward cringe-worthy moments and psychological terror because you never really know how far Danny and Eddie will go with their kidnapping. Admittedly, though, the third act does go a bit over-the-top with all of its relentless twists and turns. Gemma Arterton, whom you may recognize from the recent blockbuster Prince of Persia, gets her chance to show off her serious acting chops here and bares it all, physically and emotionally. Eddie Marsan and Martin Compston also give impressive performances that help to further elevate the film from being a pedestrian, run-of-the-mill thriller. At a running time of 1 hour and 40 minutes, The Disappearance of Alice Creed is an unpredictable, taut and well-acted thriller with just the right balance of intrigue, palpable suspense and comic relief.
Number of times I checked my watch: 2
Released by Anchor Bay Films.
Opens August 6th, 2010 at the Village East Cinema.

Dog Pound
Directed by Kim Chapiron.
Number of times I checked my watch: 1
No distributor yet.

Elvis & Madona
Directed by Marcelo Laffitte.
In Portugese with subtitles.
Number of times I checked my watch: 2
No distributor yet.


Get Low

Directed by Aaron Schneider.



In 1930s Tennessee, Felix Bush (Robert Duvall), has lived as a hermit in his secluded home for the past thirty years. The local townspeople, including Buddy Robinson (Lucas Black) and Carl (Scott Cooper), can be found either throwing rocks at his window, deriding him or making up stories about him. One day, he realizes that he’s imminently going to die, or euphemistically, to “get low”, so he goes into town to do something that no one has done before: pre-paying for his very own funeral ceremony where he plans to invite all the townspeople and to confess to them his true stories, thereby debunking all the stories that were passed around about him. He also plans hear everyone’s stories about him and to seek forgiveness from them for his past sins, not of which will be spoiled here. It turns out that Buddy works at a funeral home where he and his opportunistic boss, Frank Quinn (Bill Murray), hope to make a lot of profit from this new business venture. Felix reunites with his former lover, Mattie Darrow (Sissy Spacek), who’s now a widow, but rekindling their flame is easier said than done because of Felix’s troubled past. Bill Cobbs plays Reverend Charlie, a friend of Felix who refuses to speak at his funeral party. The screenplay by co-writers Chris Provenzano and C. Gaby Mitchell treads too much water before it starts to feel even remotely engrossing because it doesn’t provide you with information from Felix’s past until the actual funeral party itself. Until then, the only suspense is trying to figure out what sins Felix actually committed in his past, but you’re not given enough of a reason to care about him to begin with. Robert Duvall does give a well-nuanced, lowkey performance as does the always-reliable Sissy Spacek. Both of them add some gravitas while Bill Murray provides the much-needed, dry, offbeat humor that won’t make you laugh-out-loud per se, but just lightly chuckle at times. Director Aaron Schneider maintains a slow pace that’s too slow at times because it makes the film drag, although it does help to let you absorb the scenery and to take notice of the authentic-looking set/costume designs. At a running time of 1 hour and 40 minutes, Get Low is poorly-directed and often drags while lacking palpable tension. Robert Duvall and Sissy Spacek’s well-nuanced performances can’t save it from sinking into a mostly forgettable, stale drama.
Number of times I checked my watch: 3
Released by Sony Pictures Classics.
Opens July 30th, 2010 at the Regal Union Square 14 and Lincoln Plaza Cinemas.


My Queen Karo
Directed by Dorothée van den Berghe.
In Dutch with subtitles.
Number of times I checked my watch: 1
No distributor yet.


Please Give

Directed by Nicole Holofcener.


Kate (Catherine Keener) lives with her husband, Alex (Oliver Platt), and teenage daughter, Abby (Sarah Steele), in a nice Manhattan apartment. She and Alex search for recently bereaved people so that they could buy the deceased’s furniture to sell at their vintage furniture store for marked-up prices. On top of that they, bought the apartment of their elderly next door neighbor, Andra (Ann Morgan Guilbert), so they hope that she will pass away soon so that they’ll be able to expand their current apartment into hers. Rebecca (Rebecca Hall), one of Andra’s granddaughters, works as a radiologists and spends her time taking care of Andra. Amanda Peet plays Rebecca’s older sister, Mary, who works at a massage parlor. Everyone has their own problems they’re dealing with. Kate feels guilty about her wealth, so she gives a homeless man $20 and refuses to let her daughter buy expensive jeans. Alex yields to temptation by cheating on his wife upon receiving a massage from Mary at the spa. Let’s just say for now that he’s happy to see her in more ways than one as he lays on his back on the massage table. Rebecca struggles to deal with her stubborn grandmother while a romance blossoms between her and Eugene (Thomas Ian Nicholas), the grandson of one of her clients who sets her up with him. Mary stalks the girlfriend of her ex-boyfriend probably out of insecurity and jealousy. Finally, Abby feels ashamed and embarrassed of her zits, especially a big one on her nose, and desperately wants to change her wardrobe by purchasing very expensive jeans. Given so many characters and intersecting subplots, you would think that the film would be close to 3 hours long. Each character’s problems could easy be fleshed upon in an entirely separate film. Unfortunately, the screenplay by writer/director Nicole Holofcener gyrates very unevenly and too often between drama, comedy and romance to the extent that it doesn’t latch onto the right tone and, most importantly, it doesn’t find the right balance between those three genres. As such, it suffers from a sort of identity crisis because it often meanders while never quite succeeding in being truly engrossing/heartfelt as a drama and romance or funny and smart as a comedy. Holofcener populates the film with so many characters and never lets them breathe so that you can get to know them better and truly care about them, so you’ll find them remaining somewhat emotionally distant from you. What keeps Please Give afloat are the amusing moments that range from witty to dry humor, and, on top of that, the engaging performances, particularly by Rebecca Hall who shines with charisma and warmth as Rebecca, help to keep you marginally engaged as well. At a running time of 1 hour and 30 minutes, Please Give manages to be fleetingly amusing, charming and harmless with a terrific cast, but often meanders, lack bite, and unevenly juggles comedy, drama and romance.
Number of times I checked my watch: 3
Released by Sony Pictures Classics.
Opens April 30th, 2010 at City Cinemas 1,2, 3, Regal Union Square 14 and AMC/Loews Linoln Square.


Possessed
Directed by Lee Yong-ju.
In Korean with subtitles.
Number of times I checked my watch: 4
No distributor yet.

Sentimental Engine Slayer
Directed by Omar Rodriguez Lopez.
In English and Spanish with subtitles.
Number of times I checked my watch: 2
No distributor yet.



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