Film
More pithy reviews of Boston Jewish Film Festival fare, including some reflections on entries in the Short Films Competition.
Congratulations to the Boston Jewish Film Festival are certainly due to its longevity and general quality.
National Theatre director Bijan Sheibani chose artistry of movement, beautiful as it is, over the battering belittlement of really hard, unappreciated work, the facts of sweat and stupor.
This intriguing documentary, made up of first-hand footage about the Black Power movement, will air on WGBH’s Independent Lens this Thursday @ 10 p.m.
In the coming week there will be screenings of a variety of horror films from over the decades — you choose how you want your spine tingled. And don’t forget to dress up
“The Ides of March” tells the same old political story: we know how tedious the campaign season is, we know that deals are made behind doors and that all that really matter are the numbers.
New England theaters, and especially Boston’s, have compiled a fantastic lineup of programs for October, a classically-great month for films (especially if horror is your thing).
In “Drive,” director Nicolas Winding Refn crafts a cool, tight and stylish film that gets away with a lot. He managed to make a movie that works as some kind of bizarre but wonderful Michael Mann/Jean-Pierre Melville/Quentin Tarantino mash-up, helmed by star Ryan Gosling, who described it as a “violent John Hughes movie.”
Despite its serious script and premise, “Contagion” is somehow able to retain a subtle element of “fun,” an admirable feat for a movie in which scores of people die in nearly every scene.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy