All posts by Jim Moore

Shadows

John Cassavetes’ semi-improvised debut film still has an immediacy and realism that outpaces many modern indies, writes Jim Moore.

Jesse Moss’ documentary is a story about work, masculinity, faith and the difficulty of doing good, writes Jim Moore.

The interweaving narrative of ACRID leaves lots of space for character observation, according to Jim Moore.

LOVE STEAKS is an off-kilter romantic comedy with a difference, writes Jim Moore.

John Michael McDonagh’s black comedy drama reveals a 21st century Ireland unmoored from the old certainties of the past, writes Jim Moore.

Jarmusch’s spin on the vampire tale manages to breathe life back into the most (un)dead of tropes, writes Jim Moore.

The Coen brothers revisit some well-trodden themes in beautifully fascinating fashion, writes Jim Moore.

Andrew Bujalski’s bizarre curio raises big questions about technology and the nature of intelligence, writes Jim Moore.

Coming straight off his starring role in Godard’s A BOUT DE SOUFFLE, Belmondo here plays a more conventional type of crook in CLASSE TOUS RISQUES.

Any suspicions that this will be a dry, academic exercise are dispelled when the film opens with a clip from THEY LIVE, writes Jim Moore.