Film
There are cringe-worthy moments as well as scenes of mesmerizing beauty in Disney’s live-action Pinocchio. But I’ll go against the critical grain and argue, for several small reasons, and for one big one, that it was necessary to make it.
As a satire on the power of male-dominated corporations to manufacture consent and conformity, Don’t Worry Darling is devilishly amusing. Though credibility is not its strong suit.
At this year’s Toronto International Film Festival, there were celebrities, studio premieres and plenty of films with modest budgets that vied for attention.
A new documentary artfully and excitingly suggests what made David Bowie tick.
As with many horror and action films (and probably much of real life), the build-up is better than the eventual resolution/climax.
This year the Camden International Film Festival, which may be the finest documentary film festival in New England, examines the importance of place.
Honk for Jesus. Save Your Soul. would have been wise to stick to being a conventional mockumentary, a sardonic deconstruction of its target, the megachurch.
Babysitter tackles the ambiguities of misogyny head-on in a 35 mm sugar rush of magical suburban realism.
Abbas Kiarostami was the most important filmmaker to come out of the New Iranian Cinema movement, which spawned works that became staples in film festivals worldwide from the late ’80s on.
Inevitably, by recasting Petra von Kant as a version of Rainer Werner Fassbinder himself, François Ozon has rendered the film self-consciously cinematic.
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