Film
As “Lincoln”‘s end credits roll, you feel vaguely dissatisfied and disappointed that the film never achieves the emotional greatness that it might have in the hands of a different director.
Each film demonstrates a distinct female sensibility as well as a strong and unique stylistic vision.
School is in full session, family holidays are looming, a nail biting election is imminent (or past), but films are up to the challenge, whether you are looking for art or escape. The Boston Jewish Film Festival brings 45 films to 10 Boston area locations, B.U.and UMass host free film screenings with filmmaker talk backs, Harvard offers a classy horror flick, the ICA has commercials, and there are shorts galore.
“The Sessions” quietly and lovingly engages humor, philosophy, sexuality, and spirituality to create a poetic meditation on the nature of physical love and emotional connection.
“Cloud Atlas” is irresistible, a visual and sensory marvel with a winning mix of charm and humor to offset the darkest violence and mayhem within the sobering tale.
Yes, Ben Affleck took some liberties in “Argo” for the sake of the dramatic arc and a kickass, intense finale. But mostly, the story is so bizarre that it hardly needed enhancement.
The director of THE MASTER, Paul Thomas Anderson, runs toward Scientology as fast as he runs away from it and its top guns (Tom Cruise did visit the set to lodge a few complaints).
Director Paul Thomas Anderson doesn’t provide answers nor does he pose questions: the ambiguity of his characters and his confounding storytelling style are what drive “The Master.”
[Update: Tonight’s performance at Scullers by Mozik and special guest Rebecca Parris is still on. Rumor has it that the set will include Herbie Hancock’s “The Eye of the Hurricane”.] All treats, no tricks —it’s a great month for jazz in New England. The Aardvark Jazz Orchestra turns forty, and so does NEC’s Contemporary Improvisation department. Meanwhile, a raft of musicians make deep dives into electronica.
The month features a number of ambitious film festivals and the predictable cinematic excursions, classy and crass, into the spooky.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy