Film
Chi-Raq is a work of agitprop—preachy, strident, sentimental, even sacramental.
Yet another cinematic variation on Mary Shelley’s novel—and this one too often opts for slick jolts of adrenaline over credibility.
Creed easily taps into the sensibility and adrenaline of the original Rocky.
Trumbo is content to be a potted history lesson rather than a thought-provoking work of art.
Laurie Anderson’s abstract drawings, 8mm documentary, found footage, and scratched-on celluloid are combined in a frequently mesmerizing way.
As with so many Frederick Wiseman films, we get color, character, sociology – and cinema.
Avoiding overly melodramatic images, The 33 is a true horror story on screen, one that we can identify with in the deep, fearful recesses of our collective subconscious.
Two films in the Boston Jewish Film Festival: one sticks to the commonplace, the other looks at the bizarre.
Brooklyn‘s script neatly consolidates the novel’s trials and tribulations without becoming too saccharine.
Alice Rohrwacher’s film, which won the Grand Prix at the 2014 Cannes Film Festival, is a rarity — it is genuinely magical.
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