Film

Film Review: “Silver Haze” — A Remarkable Look at the Working-Class Blues

March 11, 2024
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Walking a fine line between fiction and documentary, director Sacha Polak has fashioned a film that is achingly real because it evokes life’s unpredictability.

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Film Review: “Make Me Famous” – In Search of Edward Brezinski

March 5, 2024
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“Make Me Famous” is not the portrait of a superstar like Jean-Michel Basquiat or Keith Haring; this protagonist is representative of the everyday angst, the struggle, the not-making-it, and the work that was produced regardless.

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Doc Talk: Smoke and Mirrors — Urgency and Gravitas at the Boston Baltic Film Festival

March 1, 2024
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These films might not often directly address the looming menace of Russia, but the tragic history shared by the countries shadows even their moments of happiness, levity, and hope.

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At the Berlin International Film Festival: Alonso Ruizpalacios’s “La Cocina” and Nicolas Philibert’s “At Averroès & Rosa Parks”

February 28, 2024
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A Mexican director sets a British play in a Times Square restaurant and patients talk to their psychiatrists in Paris.

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Film Review: “Four Daughters” — Young Womanhood and Trauma, Experienced and Inherited

February 28, 2024
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“Four Daughters” calls attention to the complex and admittedly slippery nature of nonfiction filmmaking.

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Film Review: “Perfect Days” — Plumbing the Depths

February 24, 2024
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In his latest feature, filmmaker Wim Wenders extols the simple life.

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Film Review: “Dune: Part Two” — A Stunning Achievement

February 22, 2024
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Despite its flaws, “Dune: Part Two” is a grand, sprawling, and deeply intelligent science-fiction epic.

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Film Review: “Drive-Away Dolls” — Bum Trip

February 21, 2024
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“Drive-Away Dolls” is the worst Coen brother movie ever made.

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Film Review: “Lisa Frankenstein” — Chivalry Is Dead

February 19, 2024
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“Lisa Frankenstein” is the first delightful surprise of 2024, destined for weird girl slumber party greatness in a few years time.

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Film Review: “Io Capitano” — When You Wish Upon a Star?

February 19, 2024
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The plight of refugees is given a fairy-tale treatment in “Io Capitano.”

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