Peg Aloi
Relic draws on the debilitations of both time and space: the inevitable aging of the body and the places we call home, the inescapable repositories of memories, regrets, and the unknown.
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The Truth is simply a delightful film all around.
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Babyteeth is a lovely film, an unusually mature coming-of-age story that juggles restraint and abandon with astonishing ease.
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Director Agnieszka Holland deftly presents a vision of genocide that is hard-hitting but never manipulative: the horror pervades the monochrome beauty of snow, skeletal trees, and pale, sunken faces.
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There is a gemlike quality to this film: an emotional, earthbound portrayal of the lived experience of a black woman — fighting to make ends meet, retaining her integrity despite repeated indignities.
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Spike Lee examines a number of racist stereotypes that illuminate the times these men lived through, the bigoted conditions of their service and sacrifice, and their continued struggle for respect and parity.
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Shirley is hard to watch, hard to resist, and deeply, deliciously haunting.
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The sensory delights of drive-ins have been pretty well forgotten in an age when watching movies has meant never leaving the comfort of your living room.
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The enigma of Seberg’s demise hangs over this biopic, which focuses on the civil rights activism that made the actress a target for the FBI’s covert surveillance.
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Robert the Bruce is a chronicle of war that contains moments of bucolic beauty and poetry that will surely appeal to lovers of historical films.
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Music Review: The Beatles are Still Here, There, and Everywhere