Arts Fuse Editor
After premiering at the New York Film Festival in 1979, this powerful documentary about one of the most dramatic periods in American labor history has been newly restored.
What lifts Resurrection above the standard victim-becomes-avenger routine is a preposterous — in a wonderfully sick way — claim that gives the movie a welcome touch of giallo unpredictability.
Opalescent’s overriding aspect is celebratory – but from a variety of angles.
Three looks at love that may help generate some interesting conversations about what love means in the lives of children.
Kirsten Greenidge’s epic comic drama is a spot-on examination of the challenges changing times pose to evolving families.
The Survivor examines what happens to someone who made the decision to survive in Auschwitz — no matter how.
The Northman is grounded in a manically precise capture of the Nordic world of the 9th century AD, but refracted through the lens of a whacked-out visionary in a spew of eye-popping images.
The emphasis isn’t on gratuitous sensuality: Gentleman Jack’s throes of passion are designed to reveal more about the psychological makeup of its characters.
It is invaluable for the world to have an in-depth account from someone who passed through the Xinjiang re-education system and was brave enough to tell the tale.
Russian Doll’s script still crackles with dark, cynical hilarity, and New York is still the gritty, gorgeous backdrop, the city where, clearly, anything can happen.
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