The Menu serves up a ghoulish and madly entertaining two hours of prime cinema.
In our politically correct times, the temptation would be to make a simplistic film in which Sandra, the good Black woman, is beset by bad white people.
In this genial, colorful memoir, Leslie McFarlane reveals the long path to how, anonymously, he became author of the most best-selling series of boys’ books in publishing history, twenty million volumes and counting.
Max Walker-Silverman’s first feature, A Love Song, is a character-driven, humanist, and deeply ecological present to someone of my generation.
This year, I decided to skip gay films altogether. I got tickets instead for two promising lesbian-themed feature documentaries. An excellent decision.
If the filmmakers are going to delve into the Jazz Fest vaults, how is it possible to show only a few seconds of Professor Longhair and nothing of James Booker, the Meters, the Neville Brothers? Not good.
Again and again, we are taken in The Will to See to places where regular reporters never venture, and certainly not filmgoers.
Considering his loopy career and also his bumpy off-screen life, Nicolas Cage seems neither ashamed nor apologetic about how it’s all gone down.
The result of critics polled for their Ten Favorite Fiction Features Directed by Women — with the choices of Arts Fuse reviewers.
Eric Neudel and Alison Gilkey found a tremendous subject for a documentary, and have told his tale with urgency and compassion.