Oktay Ege Kozak

Art Bastard is a respectful and affectionate look into the life of a true outsider in the art world.

Harrowing, uncomfortable, and heartbreaking, Pervert Park is an important film with an urgent, compassionate message.

Old-school western fans won’t find a lot of originality here, but if you’re looking for a well-executed, straight genre exercise, give it a shot.

Collette delivers one of the best performances of her already impressive career in Glassland.

The powerful performances by the three leads really help create the brothers’ distinct vision.

Martyrs is only eighty minutes long, sans credits, yet still it manages to cram four bad horror films into its meager runtime.

Moonwalkers takes a brilliant idea and runs it to the ground thanks to a confused and illogical screenplay, an atonal execution, and a bizarre addiction to Tarantino-level gleeful ultra-violence awkwardly crammed into what was obviously supposed to be a biting satire.

With his second feature, Roeck shows that he’s a talented and patient genre storyteller, even though his film’s rather flat cinematography and low budget doesn’t match his obviously more grandiose vision.

An unremarkable but solid genre exercise, one that shows off Jackie Earle Haley’s chops as a director.

Lost in the Sun gets most elements right in order to put together one of those gritty and melancholic southern crime dramas, except for when it comes to producing a unique screenplay and direction that rises above mediocrity.

It’s an endlessly fun romp with spectacular widescreen black and white cinematography. The fact that it contains the greatest—and perhaps bloodiest—samurai duel in film history is certainly a big plus.