If Andrew Bujalski’s first two films were focused on characters staring into the precipice of adulthood (a metaphor that Garden State made all too literal), then the denizens of Beeswax are inside the sinkhole staring back.

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But Bottle Rocket’s most compelling (and most Andersonian) quality is the potent mix of nostalgia, sentimentality, sweetness and utter selfishness that exists within each of the male characters.

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Mike Gibisser's drama gives the impression of having been made in a vacuum, conceived without influence and then delivered, squinting, into the fluorescent world around it.

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Here are some things I do like: serial killers (especially ones that prey on prostitutes, behavior I do not condone but enjoy seeing investigated by hard-nosed police detectives); the filthy, funny-sad realism of Mike Leigh, Ken Loach, Lynne Ramsay; and the British Broadcasting Corporation.

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Upon further inspection, Trust Us reveals itself to be something far more ambitious and complex than its concert film label would imply.

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If Metropolitan remains chaste, fully-clothed, and Barcelona strips down to its swimming trunks, then Disco, the most bawdy member of Stillman's troika, straight-up takes off its pants.

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Zach Clark’s Modern Love is Automatic is a genre-bending, color-coordinated dram-com with a flair for the absurd and a heart of gold.

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Sorry, Thanks has just enough plot to keep it interesting, while still allowing the shapelessness of real life to inform it’s forward(ish) motion.

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