Review
YUP’s uneven Jewish Lives offers a series of short, accessible biographies that could become a significant literary mural, showcasing the scope of Jewish culture.
Even given the over-the-top wish-fullfillment of the film’s plot, Escapement’s weak dialogue and lack of subtlety proves to be its ultimate undoing.
Alive Inside, the winner for Best Documentary at the Festival, had the audience gasping and in tears.
What’s not to adore about this super-friendly, hedonistic, 24-hour street party, what summer resident John Waters celebrates as “a gay fishing village,” and what I might label, oxymoronically, a “queer New Orleans.”
The beauty of this documentary is that even as it makes you laugh, the story’s essential sadness remains. Though it is very fast-paced, the film makes you stop and think — it’s as unsettling as it is charming.
Echo’s Bones is a fascinating immersion, somewhat inept in its means, but sincere and gravely serious, in a subject that Samuel Beckett made increasingly his own.
By the end of the documentary, you’re in no doubt that Whitey Bulger was beneath dignity. Though not in his own eyes. There’s even vanity left in a crook who trims his white beard so scrupulously.
Classic rock (which is really a radio format, not a musical genre) is a strange animal, which has spawned an audience that apparently cares more about hit songs and memories than about who’s actually onstage.
Rufus Wainwright is like that: unfiltered family love and dysfunction threaded through whammo pop tunes wrapped in the sequins of more than a little clear-to-those-who-know celebrity.
Arts Commentary: The Orchestra Gap — Europe vs. the US