So strong is the echo here of When We Were Kings that the specter of “The Greatest” can’t help but invade this portrait of chess’s best-ever.
Chocolate-covered scallops, anyone?
Full Frame this year offered a programmatic theme notable in the variety of its manifestations: obsession.
Virgil Vernier’s Pandore is a marvelous example of minimal authorial presence.
Our man Rajesh is as good as it gets, a courageous family man, a dreamer, for whom little seems to go right.
Junk Palace is a beautiful piece of craftsmanship well worth the small expense of time it takes to see it.
Let’s take it for what it’s worth: a delightful, feel-good movie by any measure.
The unqualified strength of Raising Renee is Beverly McIver.
Few nonfiction films so carefully adhere to the classic challenge of three-act structure than I Will Marry the Whole Village.
Lucy Walker’s documentary is alternately gratifying and heart-wrenching.
Seltzer Works strikes a peculiar but uplifting note within a recession.
Perhaps you should not go into any new movie at a documentary film festival with expectations.
Anna Rodgers’s feature-length documentary debut follows two 11-year-old cousins facing very different journeys.
Notes on the Other features one of the more ingenious and thrilling cinematic moments at this year’s Full Frame.
Stonewall Uprising is about as expert a piece of analytic documentary filmmaking as can be conceived.
The documentary is a 57-minute character study built on great on-screen title work and some very entertaining eccentricities.
Documentary is a subtle art form, where one creative misstep can overshadow a good effort.
The film is an exhaustive tribute to the work and, by extension, the life of virtuoso monologist Spalding Gray.
In no uncertain terms, this is exactly the film jazz lovers needed to make.
No, it’s never too early to talk about awards season.