Film
The first three films I saw at the Sundance Film Festival were very high-profile premieres.
The primary interest of Reframed isn’t film history; it is revisionist social statement, and a new twist on the celebrity documentary: star bio-cum-feminist essay.
Belle didn’t quite make my heart sing, but it’s a nice change of pace to see a film that treats the internet as a place that can bring people together, not merely a cut-throat Thunder Dome of clashing egos and verbal slap fights.
Beyond its engaging plot and the tour de force performances by Olivia Colman and Jessie Buckley, The Lost Daughter is a gorgeous and sure-handed work of cinema.
This is a fresh take on a teen sex comedy: someone who worships logic sets out to explore the complexity of sexuality.
Director Lana Wachowski seems less interested in telling a coherent story with fleshed out characters than she is in aggressively commenting on how we’re trapped in a cycle of reboots and remakes with no end in sight.
The knee-jerk, hateful reviews of Don’t Look Up possess comments so outsized, and so beside the point, that they bear a resemblance to the oblivious thinking of the movie’s anti-science ostriches.
The documentary supplies plenty of deserved admiration for its haggard but gentle subject, but it doesn’t tell us enough about the enduring value of Kurt Vonnegut’s writing.
The Velvet Queen, elegantly directed by Marie Amiguet and Vincent Munier, is a vivid chronicle of an arduous journey, old-fashioned but visually high-tech.
Arts Remembrance: Film Critic Michael Wilmington — A Memory
Remembering film critic Michael Wilmington, a unique guy, and friend, whom I knew for 53 years.
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