Film

Film Reviews: My Provincetown Film Fest 2026 — Highs, Lows, and One Film I Loved

June 20, 2026
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From Anne Packard’s irresistible presence to a polarizing slasher homage and a breakout no-budget film, this year’s roundup offered plenty of satisfactions and some surprises.

Film Reviews: Two “Rocky Horror” Documentaries Mark the Film’s Golden Anniversary

June 19, 2026
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“Strange Journey” traces the origins of one of cinema’s most unlikely cults. “Time Warp” shows why it still matters.

Film Reviews — Dispatch from the Provincetown International Film Festival 2026

June 18, 2026
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At this year’s festival, films by Greg Araki and others explore erotic power, artistic identity, and spiritual unease—alongside a quietly inspiring portrait of painter Anne Packard.

Film Review: Desire and Damnation in “Leviticus”

June 17, 2026
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A queer horror romance turns conversion therapy into a chilling supernatural curse—and a potent metaphor for fear, shame, and survival.

Film Review: Life Comes at You Fast in “Jinsei”

June 16, 2026
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Ryuya Suzuki’s DIY animated epic fuses pop-idol satire, existential dread, and apocalyptic spectacle into a singular coming-of-age saga.

Film Review: Adrift in Time and Tide – Mark Jenkin’s “Rose of Nevada”

June 16, 2026
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A Cornish folk-horror reverie where sound and image eclipse story, evoking the erosion of community and the fragility of working-class life.

Doc Talk: Long Strange Trips at the Provincetown International Film Festival

June 10, 2026
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Portraits of a legendary critic and modern Deadheads highlight what’s gained—and lost—when culture resists critique.

Film Review: “Disclosure Day” — Broadcasting the Truth?

June 9, 2026
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Steven Spielberg revisits extraterrestrial wonder with technical virtuosity, but his media-age fable drifts into sentimentality and soft-focus optimism.

Film Review: “The Last One for the Road” — Booze Crews

June 4, 2026
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This soused picaresque is heading for a DUI.

Film Review: “Masters of the Universe” — IP Management with a Sense of Humor

June 3, 2026
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Director Travis Knight’s self-aware reboot turns Reagan-era toy marketing into a surprisingly sharp, character-driven comedy about power, nostalgia, and growing up.

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