Tim Jackson
“Edie Arnold Is a Loser” is a divinely idiotic punk-rock Catholic-school comedy: sweet, predictable, outrageous, mildly blasphemous—and infectious.
In Central Square Theater’s production of the solo drama “Eleanor,” the acclaimed actor channels a historic first lady’s activism, marital complexities, and enduring call to civic action.
The Dardenne brothers’ latest film transforms a series of fragile stories about teenage motherhood into an unsentimental, deeply compassionate study of resilience.
At this year’s festival, films by Greg Araki and others explore erotic power, artistic identity, and spiritual unease—alongside a quietly inspiring portrait of painter Anne Packard.
Claudia Verhoeven’s “Love and Terror” reframes the Manson murders as a cultural narrative shaped by spectacle, ideology, and America’s enduring fascination with charismatic deception.
“The Maids” uses video and fantasy with purpose, while “Kenrex” turns a grim murder story into empty showmanship.
Fatih Akin’s “Amrum” traces a boy’s quiet moral awakening as Nazi Germany falls, blending lyrical imagery with unsettling historical clarity
Reviews of a pair of documentaries and arts-themed shorts at the IFFBoston.
The hefty volume is consistently engaging and informative — a lively, visually appealing guide to one of cinema’s most formidable careers.
The film’s intellectual friskiness is everywhere, and at times it takes centerstage at the expense of the story.
Arts Commentary: The Distance Between Us and the Museum