Film
Given that this film was directed by Lasse Hallström, who gave us the gastronomically wonderful Chocolat, it is hard to understand how things could have gone so wrong.
A Most Wanted Man could have been a tense espionage yarn, but director and cast seem distinctly uninterested in delivering the nail-biting goods.
Director Richard Linklater does something in Boyhood that is virtually unique. He filmed it over a twelve year period, so the actors actually grow older right before our eyes.
I’m miffed that three of the greatest documentaries ever produced, all from around Boston, didn’t make the cut on the Sight & Sound list.
Despite Woody Allen’s recycling of old ideas and plot points, his actors give such strong characterizations that I tossed my skepticism aside and enjoyed the moonlit ride.
From the start of Get On Up, James Brown’s life is reduced to the plastic clichés of music biography.
At its core, Code Black is about the struggle faced by young physicians who want to remain idealistic in the face of our failing health care system.
The stupendous Fritz Lang retrospective running over the course of this summer at Harvard Film Archive will soon screen two Lang remakes (in America) of films directed by Jean Renoir.
A Hard Day’s Night stands as a landmark in rock history because it exemplifies the Beatles’s joyously innocent starting point — today it delivers an irresistible sonic joy that comes from listening to songs that still rock after fifty years.
This kind of faux-inspirational drivel has Hollywood privilege written all over it.
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