Film
Adeptly directed by Roger Michell, “Le Week-End” soars because of its glorious leads.
Robin Lane’s story goes back to her ‘60s days as a child of Hollywood glamor, her long tenure as a Boston rock survivor, and her recent renaissance as a musical counsellor for abused women.
Centered on the acting talents of the late Tuncel Kurtiz, the film is a ribald, engaging, and briskly-paced concoction of improvisation and folklore.
Although rather shallow in its characterizations, “Bad Words” makes up for this deficiency in its rollicking, R-rated demolition of a familiar character-building institution: the spelling bee.
What makes Lars von Trier one of cinema’s most fascinating directors? It is his willingness to pull out the stops in a riotous search to understand his own mind and ask questions about human nature. His films are a quest to find himself.
Everyone is a bit more stupid than they need to be in this movie, both the Germans and the Jews.
Director Wes Anderson’s “The Grand Budapest Hotel” presents a frenzied feast of lavish and preposterous set pieces, performances, and tall tales.
Are the 16-year-olds in the deep South capable of such a challenging, cumbersome construction task? Especially with the school year coming close to an end?
This death trip romance is powerful, weird, and intoxicating — until its final scenes.
“Tomorrow Night” is firmly in the makes-you-cringe vein of comedy of which “Louie” and “Curb Your Enthusiasm” would become exemplars.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy