Peter Keough
“Killers of the Flower Moon” is an exercise in kaleidoscopic, cubist storytelling that is, among other things, an epic on the art of the grift.
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Cinema at its best is a a place where seemingly irresolvable conflicts can find, if not resolution, then some common ground.
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Werner Herzog likes the odds in “Every Man for Himself and God Against All.”
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Less is more in Wes Anderson’s adaptation of Roald Dahl’s “The Wonderful Story of Henry Sugar”.
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What happens when, through unwillingness or incapacity, memory is lost or forsaken? Two documentaries at the CineFest Latino Boston explore some answers.
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The vicious, virtual, voyeuristic, and vicarious are on view at this year’s Camden International Film Festival.
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Though the images are half a century old, the chaos, treachery, and courage recorded bear a chilling relevance to circumstances today in our country and in democracies around the world as right-wing efforts to overturn democratically elected governments proliferate.
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In the end, what strikes me most about “Vertigo” is its melancholy, its aura of grief, its mood of inevitable, irredeemable loss.
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Three gruesome films by debut directors put the horror back in vacui.
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Arts Commentary: Chile’s 9/11 — the Undying and the Undead
Two Chilean artists look at the death of democracy and the aftermath of the 1973 coup.
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