Film
The film urges the audience to take action against AI, but it is too symptomatic of today’s paralysis to be of as much help as it would like to be.
“Magellan” circles the world and the world circles the drain.
Despite an excellent cast, impressive production values, and the thrilling music at its heart, “The Choral” often feels as if it is trying to be several films at once.
As a dick-waving demonstration of fascist corporate and political power, “Melania” would make a great double bill with Pasolini’s “Salò, or the 120 Days of Sodom.”
In secret and in exile, the power of cinema prevails at the Boston Festival of Films from Iran.
The sitcom tropes encourage director Sam Raimi to unleash his utterly demented black humor sensibilities.
“Long Take” is a somewhat dry read; there are some great passages, but too many rambling, unfocused sections for it to be a satisfactory sequel to the Japanese director’s 1983 memoir.
Despite an occasional narrative misstep, “H is for Hawk” soars with enormous power and beauty when it revels in the mysterious, graceful ways of nature.
How often do we see movies that successfully delve into what it means to become a mature adult after a traumatic childhood?
Cultural Commentary: Death by Incorporation — Why Do Bean-Counters Run Arts Boards?