Xavier Dolan

Though Xavier Dolan’s home of origin shares a border with the US, and his home of Montreal is mere hours away from the arthouse hub of New York City, his films have had something of a limited theatrical lifetime in the United States. To date, his widest release is 2010’s Heartbeats, which reached 10 screens. This limited distribution scope is disproportionate to the discourse the filmmaker has generated around his youth and his films’ refusal to conform to both supposed arthouse standards (often imbuing a pop culture-infused energy) and general commercial concerns (experimental shooting formats of the yet-to-be-released Tom at the Farm and Mommy, the epic length of Laurence Anyways). Indeed, Dolan seems to be on the precipice of moving quickly from a gem whose films are shared and discussed between clusters of cinephiles to a major foreign figure in the US arthouse scene. His fifth feature, Mommy, won the Jury Prize at Cannes (which it shared with Godard’s Goodbye to Language), was chosen as Canada’s official submission to the Best Foreign Film Academy Award, and will be released stateside later this winter. The fast-working director has quickly moved onto his sixth feature and his first in English, The Death and Life of John F. Donovan. While there is a great deal to anticipate in Dolan’s near future, his existing body of work is quite remarkable, and signifies an unmatched vision of shared experimentation, classic dramatic storytelling, and overt stylization that makes his films spectacularly unique. So here’s a bit of […]



Sweet Jesus there are a lot of new releases this week. If there’s one common theme among them it’s that (with only a couple wide release exceptions) all of this week’s titles are smaller films, older films, or foreign films. I’m as much a fan of blockbusters as the next guy, but there’s something to be said for the small joy of discovering a movie that never had a chance at your local multiplex. Unfortunately, there’s a second theme in this week’s releases… specifically in the Avoid section. I love horror films, but most of the ones releasing on DVD today are simply not worth your time. Skip the three in the Avoid section below and instead check out some of the many titles worth Renting or Buying including Live Like A Cop Die Like A Man, Bodyguards and Assassins, Source Code, We Are What We Are, and more. As always, if you see something you like, click on the image to buy it. Trust A young high school student forms an online relationship with someone she believes to be a fellow teenager but who turns out to be a thirty five year old pervert. She quickly becomes the victim of sexual assault, but that’s just the beginning of her family’s nightmare as they all struggle with the truth of what happened. Director David Schwimmer does a fine and non-sensationalist job with a topic that could so easily have become exploitative, and he’s aided by two fantastic performances from Liana […]



Whether you’re trying to avoid the releases this week or augment them with even more movie, Your Alternate Box Office offers some options for movies that would play perfectly alongside of (or instead of) the stuff studios are shoving into the megaplex this weekend. This week features Nic Cage driving straight outta Hell, two jackasses trying as hard as they can to cheat on their wives, and a love triangle from Canada.


The Reject Report

Nic Cage SMAAAAASH!!! With his car, of course. I’m sure he’d be more than happy to step into the Incredible Hulk role. Until that glorious day, though, we’ll have to be satisfied with watching him bust out of Hell and taking on William Fichtner as the Devil’s accountant. Plus it’s all in 3-D. Hall Pass isn’t, but who really wants Jason Sudekis in 3-D? Those are the two big movies this weekend, and where they stack up on this week’s box office charts might surprise you.

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published: 01.28.2015
published: 01.28.2015
published: 01.28.2015
published: 01.27.2015

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