Review
Maybe the greatest value of Saviano’s narratives is that they rebuke the complicity of silence; they are acts of dissent that refuse to kowtow to the oppressive omertà.
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Amir Nizar Zuabi’s engaging drama is a hopeful testament to communication and forgiveness.
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2020 offered another rich year for the documentary form, well beyond the tabloid entertainment of the likes of Tiger King
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Two from Dave Brubeck: Time Outtakes, the alternate tracks for the Dave Brubeck Quartet’s classic 1959 album Time Out is very good to have; Lullabies is filled with the intimate sound of the pianist’s old age, tender affection, and distilled musical wisdom.
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The filmmakers use their story to point towards a way to help us navigate through our own polarization; it has something to do with each of us widening our perspective to take in more than just our immediate experience.
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The film feels amateurish in the most complimentary Stendhalien sense: created in a spirit of play, rather than a sweaty effort to advance a studio agenda.
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Producer Ted Olson is on a mission in We Shall Be Reunited to do justice to the past; he imagines a beautiful alternative to the current ballyhooed origin story of country music.
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In its efforts to subvert well-known tropes, and reclaim the subgenre’s feminist cultural potency, Promising Young Woman undercuts its own transgressive potential by doing away with what makes rape-revenge films compelling.
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Some of the best music documentaries of 2020 – and some disappointments
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Film Review: The Best Horror of 2020
It was the most terrifying of times, it was the most horrifying of times.
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