Film
Yes, “Bridget Jones: Mad About the Boy” is a cheesy, predictable rom-com. But it doesn’t try to be anything that it’s not.
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Films can transform the way that their subjects are seen, sometimes by just making a subject visible. That was the case with three films which were among the best that I saw at Sundance this year.
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A pair of documentaries challenge the fantasies in the Boston Sci-Fi Film Festival
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A trio of documentaries: one explores an under-recognized Black musician, while the other two focus on a leftist Israeli comedian and crusading teen journalists.
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In his debut feature, director Halfdan Ullmann Tøndel mistakes gratuitous strangeness for genuinely uncanny adventure.
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This extraordinary cultural figure has yet to receive the biography she deserves.
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My guess is that if Sundance survives, it won’t look like the Sundance we know.
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There’s always a fair bit of horror in the mix, as well as thrillers and dramas. Each entry has a chilly darkness at its core — these are stories that often abound with themes of cruelty, grief, terror, and dread.
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At some point during the writing of the book, Ken Turan must have realized, sadly, that the Mayer/Thalberg/MGM story has been done to death. All he could do was what he did: tell well what had been told well before.
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Fascism is faced down in Walter Salles’s Oscar-nominated masterpiece.
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Arts Commentary: Rich in Creativity — But Nothing Else