Review
Bruna Dantas Lobato’s sensibility is unmistakably original: she explores her protagonist’s life and surroundings like a dowsing rod, poking into closets, corners, and cupboards.
There are valuable lessons here, but I are afraid that this docuseries will be overlooked among all the more enticing, and sensationalized, witchy watchings.
Each of these four works has its own flavor, and lovers of Baroque and Classic-era music will happily scoop up one or more of the recordings.
The script is an experiment, a (sometimes) witty lecture on language. But it doesn’t work dramatically.
It’s Jeremy Strong’s portrayal of Roy Cohn that hangs in this not-very-good movie like a Rembrandt on the cracked plaster of a La Quinta suite by the airport.
This memoir is, in part, Gene Yu’s effort to give credit where credit is due for his rescue of a woman kidnapped by the Jihadist terrorist group Abu Sayyaf.
Critic John DiLeo argues that even the Academy Awards can make mistakes. And, in the process, he constructs an alternate history of who should or should not have been Oscar nominees.
Was another helping of “The Platform” necessary? Maybe. But only if it was done right — and this is half-baked sci-fi horror.
Cecile Desprairies’ extraordinary work is a cross between the dispassionate inquiry of a historian and a family memoir whose author is searching for catharsis at the end of her attempt to understand her family’s place in the Nazi-collaborationist narrative.
William A. Everett’s book is well-researched but based on a problematic premise.
Recent Comments