TJFF 2012

TJFF 2012: ‘Simon and the Oaks’ works best without just Simon

TJFF 2012: ‘My Best Enemy’; Tarantino’s inglorious bastard

TJFF 2012: ‘Polish Bar’ is no Matisyahu

TJFF 2012: ‘My First Wedding’ is a perfect storm of marriage clichés

TJFF 2012: Watching ‘The Prize’ in totality is an unsavory Pyrrhic victory

TJFF 2012: ‘We Need to Talk About Dorfman’

TJFF 2012: ‘Off-White Lies’ is a lyrically offbeat comedy

TJFF 2012: ‘Let My People Go!’ is a cheerfully fun film that’s sadly unfunny

TJFF 2012: ‘Naomi’ is a study of incurious people being unlikeable for unknowable reasons

TJFF 2012: ‘Something Wild’ is an exhausting, glib, and outdated look at sexual assault

TJFF 2012: ‘The Day I Saw Your Heart’ magically conciliates its flaws with French charm

TJFF 2012: ‘My Australia’ is morally facile, tonally capricious

TJFF 2012: ‘The Last Flight of Petr Ginz’ highlights the best qualities of humanity

TJFF 2012: ‘Hitler: The Comedy Years’ shows us why we still like to take the piss out of ol’ Adolf

TJFF 2012: ‘How to Re-Establish a Vodka Empire’ corporatizes a personal story

TJFF 2012: ‘The Flat’ is a convoluted family tree

TJFF 2012: ‘This Is Sodom’ is everything the name suggests

TJFF 2012: ‘OSS 117: Lost in Rio’; from the 60’s with love