Reviews > Film
‘Jim: The James Foley Story’: Remembering and Not Knowing

Jim: The James Foley Story makes you aware of the need for more storytelling and more visibility, more open doors and more lessons shared.

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‘Take Me to the River’, Please

This promising documentary about the past and future of Memphis and the Mississippi Delta music scene is overcrowded with too many captains who steer the boat aground.

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When Talkies Were Red Hot: ‘Gold Dust Gertie’ and ‘Her Majesty, Love’

From the era of Hollywood's creative borrowing of Broadway come two scandalous comedies that predate the Production Code's thematic restrictions.

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‘Pride and Prejudice and Zombies’ Is in Pursuit of Brains

Lizzy and her sisters spar in the basement while debating the merits of one suitor or another, slamming one another into walls and bearing posts.

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‘Hail, Caesar!’ Is a Comedy Without Laughs

The Coen brothers’ artfully conceived but strained satire of '50s Hollywood gets the look right, but little else.

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Takashi Murakami’s ‘Jellyfish Eyes’ Smacks of Derivative Pastiche

Famed Japanese contemporary artist Takashi Murakami earnestly attempts to translate his innovative Superflat aesthetic to the world of film.

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‘No Más Bebés’: Sterilized Without Consent

As the struggle for reproductive rights continues, we might look back on history in order to understand the consequences of denying women sovereignty over their own bodies.

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Beware Strangers Bearing Literary Quotes

In Mojave, an effective thriller struggles under the weight of its intellectual pretensions.

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Resnais Explores Fear and Memory in Je t’aime je t’aime

In slow, hypnotic ellipses, director Alain Resnais draws out the moribund inner world of a suicidal man haunted by a series of disturbing memories.

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The Story Is In His Eyes in ‘The Finest Hours’

Ray's (Casey Affleck) eyes tell their own story, more hauntingly and more urgently, than any of the plot's clunky machinations.

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More Po and His Pals Are Not A Bad Thing With ‘Kung Fu Panda 3’

Kung Fu Panda 3 contains a lot of those necessary beats to keep fans happy. It also does so in a way to keep things from feeling stale.

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Sundance 2016: ‘Manchester by the Sea’ + ‘Certain Women’

Two exceptional films at this year’s Sundance Festival resist the typical character arc, and instead follow individuals who either have no interest in changing or are powerless to do so.

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Sundance 2016: ‘Wild’ + ‘Author: The JT LeRoy Story’

Two films at the Sundance Film Festival -- Wild and Author: The JT LeRoy Story -- challenge familiar categories.

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It’s the Kicker’s Fault, as Always, in ‘Four Falls of Buffalo’

Four Falls of Buffalo shows how misfortune brings some communities "closer together" even as it also breaks others open.

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Bob Dylan Deserves Another Look Back

D.A. Pennebaker's Dylan documentary, Dont Look Back, still feels amazingly fresh and experimental.

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The Reign of ‘Black Caesar’

Trading on the charm of its leading man, Black Caesar is one of blaxploitation's classiest entries.

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Surprise: Kids Become Killing Machines in the YA Film, ‘The 5th Wave’

Does anyone care that this film is based on formula, or that its comedy is inadvertent, or that it's inelegant from its beginning?

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The Modernization of Japan, a Corrupt Military, and Lady Snowblood

More than just bloody revenge movies, a number of thematic strands and political critiques run beneath the pulp surface of these two Lady Snowblood films.

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‘Intruders’ Plays With Genre, But Not Enough to Stand Out

Director Adam Schindler’s first film shows promise, but its' lack of distinguishing features hold it back.

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‘Little Sister’ Keeps it All in the Family

Arguably a far more demented cousin of Cocteau’s Les Enfants Terribles, Little Sister manages an insightful revelation through the contentious moment of familial destruction.

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In Motion: On the Emptiness of Progress

// Moving Pixels

"Nils Pihl calls it, "Newtonian engagement", that is, when "an engaged player will remain engaged until acted upon by an outside force". That's "progress".

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