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“House/Divided” – a mélange of dazzling videography, startling and inventive lighting/props/stage craft, and spoken snippets of John Steinbeck’s quasi-Biblical prose – does not add anything new to our understanding of the current national malaise.
Pierre Reverdy’s poetry that is suspicious of the deceiving beauty of words, hence its pared-down, elemental, stylistic qualities.
“Gloria” explores better than any movie I’ve seen how, when middle-aged divorcees become a couple, they are still affected by their relationship with their ex-spouses and children.
Who doesn’t want to be in a movie?
Music Interview: Mavis’ Man — Guitarist Rick Holmstrom on Backing Mavis Staples With Taste and Space
“Yeah, Mavis Staples is everything you see onstage and more. She gives and gives and gives.”
“Dallas Buyers Club,” though it does get decidedly sunnier once Ron is introduced to natural self-medication, which extends his life well beyond the projected thirty days, is not an open-and-shut case.
Director Asghar Farhadi is a master storyteller. He is particularly adept at painting characters in deep shades of gray.
No amount of postmodern theory can paper over the fact that a half-baked cake, even one made with tasty ingredients, fails to satisfy.
Fuse Film Commentary: The Decimation of the Independents — Some Solutions
The major film companies must divest themselves of their independent arms (which are anything but independent) and allow a return to the system that was in place for decades until greed and cinematic carpet bagging crushed it.
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