Film

Film Review: “Welcome to Leith” and “61 Bullets”

April 22, 2015
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Two powerful documentaries that explore the dark side of America, past and present.

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Film Interview — Brian Tamm and Nancy Campbell On This Year’s IFFBoston

April 18, 2015
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“We’ve let too many valuable creative people leave for Brooklyn, Austin, and Portland. We need to do something about that.”

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Film Review: In Defense of “Woman in Gold”

April 12, 2015
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Woman in Gold has novelty going for it — it is a film that depicts a woman’s passionate relationship to a piece of art.

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Film Review: “Magician: The Astonishing Life of Orson Welles” — What’s the Rush?

April 5, 2015
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At a mere 1 hour and 34 minutes, Chuck Workman’s documentary about Orson Welles is rushed and sometimes choppy, leaping through the filmmaker’s bountiful life.

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Film Review: “Salad Days: The Birth of Hardcore Punk in the Nation’s Capital”

March 31, 2015
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When no-one was looking, Ian MacKaye and a group of young people like him created one of American alternative music’s most important and unique scenes.

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Film Review: “Kumiko, the Treasure Hunter” — American Surrealism

March 25, 2015
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The Zellner brothers’ excellent film is inspired by a Japanese urban legend of a young woman who came to America supposedly because of Fargo, and then committed suicide in the snows.

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Film Review: “Winter Sleep” — Epic Lite

March 23, 2015
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Winter Sleep is not the cinematic masterpiece so many have been hailing it to be.

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Fuse Film Review: “An Honest Liar” — Cutting Charlatans Down to Size

March 18, 2015
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The puckish, irrepressible personality of James Randi — magician, escape artist, debunker of seers, psychics, and all things paranormal — is at the zesty heart of this memorable documentary.

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Film Review: ‘Taste of Iceland’ Film Festival — A Delicious Smorgasbord

March 18, 2015
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If these efforts are representative of Icelandic cinema, it is time for movie lovers to start paying much closer attention.

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Fuse Film Review: “History of Fear” — From Argentina, At High Volume

March 16, 2015
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One leaves History of Fear feeling that the director wants to stir up our anxiety about the omnipresence of fear itself.

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