Film
Focusing on the years between 1961 and 1964, director James Mangold turns Bob Dylan’s creative journey into a better-than-average cinematic biography in which the singer ends up riding off on his motorcycle and into history.
This might not be everybody’s idea of who Maria Callas was, but the film is plausible, and honest. You can watch Angelina Jolie’s Maria and think, so that’s what it was like to be her.
The film is a testament not just to the resilience and courage of Ukrainians in the face of brutal aggression and the threat of genocide but to the power of art to transcend tragedy and injustice.
Our demanding critics choose the best films (along with some disappointments) of the year. And there is plenty of disagreement.
“Queer” breaks new artistic ground for an artist whose visionary talent is already well-established.
It may be shot in B&W, but “Day of the Fight” is not a retread of “Raging Bull” — though Joe Pesci is present.
Ya gotta understand — corporate assholes are like Sauron’s boss, Morgoth. They are incapable of creation. They can only appropriate and warp, like how Morgoth appropriated and warped Elves to create Orcs.
The aim is to evoke, critically, a period when adventure, for men, was about running away to Cuba or going on Kerouac-inspired road trips.
It’s hard to imagine anyone connected with the movie world who is not appreciative of Phillip Lopate for the grace and intelligence and knowledge he has brought to film criticism.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy