Film
A trio of films in which certainty and security have been disrupted and people must make the best of what remains.
Film historian Peter Cowie’s writing is always intelligent, if somewhat dry, and normally correct in its evaluations of Ingmar Bergman’s films.
Director Takashi Miike’s latest is a killjoy of a film: it doesn’t want to have fun with its material, but it’s impossible to take it seriously.
The enthusiastic spirit of “Lost Soulz” is appealing enough to make what feels like two different types of movies sutured together dramatically satisfying.
There is no denying that “Kidnapped”‘s warning about political authority abusing religion for its own accumulative ends resonates powerfully at this moment.
Film/Album Review: “Omar Sosa’s 88 Well-Tuned Drums” — A Superb Documentary About a Brilliant Artist
Part of what makes pianist Omar Sosa such a fascinating (and successful) musician is how his complex music constantly dances back and forth, between charming the mind and charging up the body.
The “Mad Max” series is one of the few franchises in history that’s only gotten better with age, likely because George Miller’s refined and tinkered with his distinctive vision via each new development in filmmaking technology.
“Wildcat” is a biopic that sticks with you for days, bedeviled by questions and revelations.
Breezy as “Hit Man” is, there’s a sting to this romance’s tail.
What have you done to prevent the end of the world? A quartet of documentaries in this year’s Global World Film Festival offer different answers to this nagging question.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy