Film
What about Bert Stern, the artist? He deserves credit for bringing fashion photography into the modernist moment in the late 1950s and early 1960s.
A fantastic film? Not really. “In the House” is sometimes ingenious, but all the main characters are cold, arrogant, and off-putting.
May is in full bloom. Starting just this week there is the LGBT Festival, screenings of three silent classics with live accompaniment, the beginning of the Harvard New American Black Cinema Series, and two Boston Jewish Film Festival encores.
The best rock biopics, like “24 Hour Party People,” “I’m Not There,” and “The Doors,” aren’t afraid to get a little weird, even if it means throwing verifiable facts to the wind.
To The Wonder — the best American feature by far of 2013: beautiful, compassionate, tragic, transcendent.
There are over 100 films to choose screening tomorrow through Wednesday. To get you started, here are four that I have seen and highly recommend.
A movie critic can’t help but tie the Boston Marathon tragedies to the cinema, and so John Frankenheimer’s “Black Sunday” (1977) obviously flashes to mind.
“Blancanieves” is not quite as charming as “The Artist,” but it’s less of a parlor trick, more sincerely a work of true silent cinema, 85 years after the dawn of sound.
This documentary plays like a didactic high school civics lesson. I agree totally with its politics while abhorring its unimaginative political correctness.
Israel has genuine enemies without, to be sure. But “The Gatekeepers” leaves the impression that it has no less mortal an enemy within.
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