Review
City Hall is a quiet, unsentimental celebration of civility in its many forms.
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Dan Callahan has crafted an entertaining and illuminating guide to understanding Hitchcock’s relationship with some of the most iconic actors of the day.
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Nothing detracts from the essentials here – three fine players in creative conversation.
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Existential Reckoning confronts today’s lethal inanity in blistering fashion, via songs that posit dire consequences for a country that wants to be entertained more than wants to be informed.
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For Fleet Foxes, Shore is impressively consistent. Each track presents a meticulously detailed soundscapes deepened by Robin Pecknold’s varied meditative perspectives.
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What is the problem with this Rebecca? It is stunning to look at and well-crafted, but I sometimes felt as though the actors were striving for a tone more suitable to a film other than the one they were in.
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Sacha Baron Cohen uncovers enough destructive inanity in Borat II to justify the savagery of its satire of American ignorance.
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My guess is that Keith Jarrett probably wasn’t satisfied with this performance. I wouldn’t change a note, a gesture, or a shading.
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Filled with galoots of all kinds, the novel might not have any true reason for existing, nor may it have any reason to end. But heck, it’s a good, old-fashioned, medicine show of a read.
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In the end, The Trial of the Chicago 7 strikes a reasonable balance between historical document and cinematic art.
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