Strange times we're living in. The battles that are being fought today, from gay marriage to the decriminalization--wait, legalization--of cannabis are far removed from me, and, I suspect, from a lot of other people. And yet the first one presents a vital issue for men and women everywhere and the second has been causing much head a-scratching. Smoking weed is a repugnant habit best shedded as quickly as possible in life, but prudent legalization (small amounts for personal use) is

After vampires and wherewolves let us hail the return of the zombies (whether they appear in "The Walking Dead," "Warm Bodies," "28 days and weeks later," "Zombieland," or, very soon, "World War Z," zombies are pleasing to audiences--they're attention-grabbers and soon they'll probably control everything).

The Jonathan Levine-directed (PROFILE) "Warm

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Pablo Trapero is a socially-committed filmmaker who delivers powerful movies. After "Leonera" (2008) and "Carancho" (2010) he delves into one of Argentina's more bothersome problems, its everspreading urban slums. In an Argentina that's been licking its economic wounds, the slum have become a supporting character in and of itself. In the vein of Ken Loach or Fernando Meirelles Pablo Trapero depicts the saddening

Kurd cinema in Tennessee? Exactly: who knew? Aside from its main program which already includes a gazillion titles the now-venerable Nashville International Film Festival (this year marks its 44th edition) scheduled for April 18-25 will also be screening fifteen Kurdish films down at its Regal Green Hills Cinema location, in partnership with the MPAA. Fest organizers have announced a special three-day celebration of

Since “Blue Valentine” Derek Cianfrance has paired up with Ryan Gosling again this time with the ambition of achieving "his" epic crime movie. Because who better to delve into this genre with than the hero of "Drive," currently enjoying leading-man status? The idea for “The place beyond the pines” was clever--the film, much less. Stilted by excessive determination Cianfrance delivers an imitative film that’s full of clichés and un-