The criss -
crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.
Not exact matches
There's a certain kind of
film I see at many festivals: oblique, short on
narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like
crossing the street in real time.
Something of a
cross between a drama and a thriller, the
film works for the most part, delivering a somewhat engaging
narrative while loosely giving us the skeleton of a real story.
Instead, it is the most sumptuous, classical star
cross'd lovers romance — a «Juliet and Juliet» story — in which the central love affair is presented just as legitimately as those that dotted the Hollywood
films of the Golden Era (
films whose
narratives French
film theorist Raymond Bellour memorably likened to machines designed to produce heterosexual couples).
Comprising three works spanning short - and feature - length
films, and a documentary, produced by independent filmmakers and artists, this selection addresses concerns of belonging, border
crossing, and otherness in the diasporic journey through various visual
narratives.