Michael Marano
This year’s Independent Film Festival Boston kicks off this week, and it offers a grand selection of must-see indie films that set audiences free from the soulless product of corporate franchises.
Vicky Osterweil examines how Unca Walt’s empire imposes a politically dangerous, patriarchal form of homogenization across all its intellectual properties—from the Marvel Cinematic Universe to cartoons, to “Star Wars” films and shows, and to amusement park “experiences.”
AIDS made us strangers in our own lives. It took our world and made it foreign, putting us in the same socio-cultural no-man’s-land where “Alpha”‘s immigrant family is struggling.
I’m thinking that a one-person performance of “Hamlet” by a Brit transwoman might get under Trump’s necrotic skin.
“Project Hail Mary” is an antidote to dystopias, real and imagined.
As a dick-waving demonstration of fascist corporate and political power, “Melania” would make a great double bill with Pasolini’s “Salò, or the 120 Days of Sodom.”
The sitcom tropes encourage director Sam Raimi to unleash his utterly demented black humor sensibilities.
“Die My Love” is a healthy bitch-slap, its shock encouraging young folks to dismiss the bullshit about relationships too many other movies have hawked over the past decade and a half or so.
There’s a profound catharsis in watching “Bugonia,” one that echoes the catharsis articulated by those who attended the ‘No Kings’ protests on the 18th.
Tron: Ares hurries from one spectacular concept and one spectacular set piece to another. But it doesn’t take the time to let any of those remarkable things sink in.
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