Film
“It’s easier to make a movie now but it’s harder to get it distributed in a way that people will see it.”
The first half of “The Broken Circle Breakdown” is directed in the most conventional way. In the better second half, the leads dig deeply into their characters, sing bluegrass wonderfully.
Director/producers Andrew Cohn and Davy Rothbart have constructed a film that ties the desperation of Medora’s shrinking ambitions to the struggle of its scrappy team to win a single game that could suggest a small hope for the future.
In the mesmerizing “The Last White Knight,” documentary filmmaker Paul Saltzman chronicles a five-year dialogue with the man who assaulted him during the civil rights movement.
em>Historic footage—from newsreels, TV stations once-live coverage, from several investigating commissions- has been edited, brilliantly into a coherent, important political film.
This is a movie that one Stone Roses fan made for other Stone Roses fans to enjoy. There’s nothing wrong with that though, and judged in this way, it’s a winner.
This is one fine neo-noir, expertly directed by Ridley Scott with a host of superlative star turns from Michael Fassbender, Cameron Diaz, Javier Barden, Penélope Cruz, and Brad Pitt.
Cormac McCarthy’s rambling but brilliant screenplay is given vigorous direction by Ridley Scott, whose elegant visual style captures the tense downward spiral of the film’s doomed characters.
With 12 YEARS A SLAVE, Steve McQueen, the brilliant British director of HUNGER and SHAME, has probably created the first masterpiece of the new black cinema.
Film Commentary: A Contrarian View of “12 Years a Slave”
Why haven’t more movies been made about American slavery? Hollywood studio racism is certainly a prime factor; but even for determined anti-racists, there’s also the aesthetic problem of creating a compelling film drama.
Read More about Film Commentary: A Contrarian View of “12 Years a Slave”