Malcolm Wyer--in the name of literary theory--aims to push poetry to the brink of extinction.
A Mountain Where Less is MoreBy Malcolm Wyer
An early scene in Treeless Mountain, the austere and elegant second feature by Korean-born director So Yong Kim, depicts six-year-old Jin nervously waiting at the dinner table after her worried mother answers a knock at the door.
Inept, Righteous, and Extremely ProlificBy Malcolm Wyer
Atom Egoyans ambitious eleventh feature Adoration plays like a retrospective of the directors three decades of film work.
Too Much MooreBy Malcolm Wyer
Michael Moores new film, Capitalism: A Love Story, epitomizes all for which Moore is already notorious. In a sweeping indictment of the free-market capitalist system, Moore turns a hugely complex and exciting argument into a simple little lesson of Anne Coulter-level common sense.
BAD MOVIE, SILLY LIEUTENANTBy Malcolm Wyer
In the press notes for his new film, Bad Lieutenant: Port of Call New Orleans, director Werner Herzog dismisses comparisons to Abel Ferraras original Bad Lieutenant.
Meta-Documentary of a Meta-DocumentaryBy Malcolm Wyer
Director Alexander Olch chose an unlikely subject for his first feature film: another documentary filmmaker, one with two hundred plus hours of footage about himself. Actually, Olch kind of fell into the job.