Cinema Sentries

An homage to classic horror, pulp, and supernatural tales that’s absolutely worth your time.

“The only new things in the world is the history you don’t know” – Harry S. Truman

An honest portrayal of girls during the awkward teenage years.

Charlie Brown and the gang are ready to play ball, but this collection of Peanuts shorts is not all fun and games.

An examination of the modern technological breakthroughs that promise a “brave new world” for humankind.

Pierce Brosnan’s debut is the last Bond movie to really feel like a Bond movie.

His lecture series is a fascinating examination of the evolution of mythology and the archetypes that define us.

It tries to be an edgy breakup comedy but doesn’t quite succeed.

A review of Roger Moore’s last outing.

“I shall ascend my funeral pile triumphantly and exult in the agony of the torturing flames” or not, as the case might be.

Be grateful that his career as a filmmaker was short-lived.

It hasn’t held up well over 30 years.

A gritty, realistic portrait of the Korean War that is ultimately weakened by the inclusion of an ineffective romantic subplot.

A potentially compelling story is lost to the whims of the Production Code and the weight of its failed attempts at grandeur.

Eldritch rituals, gibbous moons, and Great Old Ones finally available in your home theater.

A trio of Sentries offer their thoughts about McCartney’s theme song.

Sean Connery’s return to the role of James Bond is less than thrilling.

It’s Bond like you’ve never seen him before: that awkward transitional boyfriend.

If you were to wake up floating in the ocean with two bullet wounds in your back, who would you like to be?

A delightful (albeit admittedly minor) comedy.

Jim Jarmusch’s third feature film is nothing short of extraordinary.

Looking for truth, love, and a better exchange rate on the Won in a stretch limo.

Welcome to the basement where the dead things live and where gothic horror subject matter makes a welcome return.

Thankfully, it doesn’t take itself too seriously.

In terms of its importance to the franchise, it’s significant in several ways.

Just because you’re not doing wrong doesn’t mean you’re doing right.

An interview with Anita Coulter about TR!CKSTER and the art of setting up shop.

Comedy and horror don’t always mix, but when you get the alchemy right it’s really gory good fun.

It does a little too much telling.

The gang go to India, Italy, and the U.S.

Sometimes a kammerspielfilm shoots itself in the foot and that’s the problem with The Ledge in a nutshell.

In its genre, John Carter gives you exactly what you’re expecting to see.

The aging courtesan and her young gentleman companion are not in love, they merely have a mutually beneficial arrangement.

Sometimes it’s not enough to want revenge and justice, you have to have a plot too.

A classic in its own right.

It disappointed more than it charmed.

It exists somewhere between generic indie and art/experimental film.

An event 25 years in the making.

Believe the hype: The acclaimed 2010 feature from the writer/director/star of HBO’s “Girls” brings early Woody Allen to mind.

A worthwhile addition to any film lover’s collection.

Korean Gothic horror underpinned by psychological drama and literary Naturalism.

Could be aptly re-titled Surviving Greed.

You’re supposed to be laughing with the sinners instead of crying with the saints, not just laughing at the plot line.

Films that don’t quite fit anywhere else.

A night of unexpected endings.

The historic 50th festival continues with a strong collection of shorts and a moving pictorial.

Day 2 features filmmakers of the past and the present.

The 50th AAFF opens with a short film program focused on technical experimentation.

Director Stephen Kessler explores celebrity and addiction in the life of pop-culture icon, Paul Williams.

Any of these come to your mind?