Danny King

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  • Daniel Duran's Bravetown is a textbook example of substance-over-style success: Aside from a showy opening (a tracking shot that snakes through a club, cribbing freely from Carlito's Way, Boogie Nights, etc.), the movie...

  • Where David Michôd's recent The Rover provided a poised, sparse vision of post-apocalyptic Australia (complete with "a Bressonian car chase," per critic/filmmaker Dan Sallitt), Zak Hilditch's These Final Hours — shot in...

  • First it's lively Christian satire, then it's thoughtful moral reckoning. The two modes under which Will Bakke's Believe Me operates never merge into a cohesive whole, but in a year in which so many successful Christian-themed movies...

  • Give Tim McCann credit for his twisted imagination: His see-it-to-believe-it 2005 cheapie Nowhere Man concerns a guy hunting for his own severed penis, sliced off by his ex-fiancée, who's now hiding out with the organ in the...

  • Adam Rapp's Loitering With Intent — a lackadaisical hangout comedy that tries to be both a winking, self-reflexive look at screenwriting and a resonant study of relationships — suffers from a thrown-together vibe that is only...

  • The absurdly wrong poster for After the Fall — which shows Wes Bentley toting a gun in front of the American flag, a scar visible on his left cheek — promises a tacky VOD actioner in the Nicolas Cage mode. In truth, however,...