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This tragic, absorbing, and moving quasi-novel is best characterized as a “tour de force”.
Conducting Lumina, Andris Nelsons was entirely in his element, capably drawing out the music’s shimmering gestures — string flourishes, brass fanfares, woodwind filigrees, and the like – from a locked-in BSO.
Get Out owes much to the small but precious film genre that dares to cultivate bizarre and hip satire.
Belfast is overly sentimental and drenched if not drowned in nostalgia, but it’s also very sweet, uplifting, well-paced, beautifully shot, and competently assembled.
This invaluable addition to the Austen literature offers two for the price of one: a beautifully designed and printed edition of the novel many consider her best and a parallel critical commentary that deepens our understanding and opens up a rich, textured view of her world and time.
Maria Tallchief forever changed the idea of what it meant to see America dancing.
Each film demonstrates a distinct female sensibility as well as a strong and unique stylistic vision.
It’s Walker Percy’s subversive strategy to stick us with a decided non-hero and have us gradually appreciate his non-participatory status.
Of special interest is Askold Melnyczuk’s treatment of objects. His imagination transforms curios into uncanny artefacts.
Narrative holes and esoteric tendencies aside, SENNA is remarkable for its feat of compiling what must have been hundreds if not thousands of hours of Formula One footage. The film is surprisingly cinematic and has a vintage, if not sometimes grainy, appearance.
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