Ron Howard’s film is a trivial afterword to a historical footnote.
A key postcolonial work of remembrance from Africa’s father of film gets proper dissemination.
Even potentially heavy-handed characters and situations are imbued with too much pain and terror to be trapped by symbolism.
Kevin Rafferty’s documentary of a doozie of an Ivy League football faceoff in November 1968 keeps it simple.
Well, that didn’t last.
The newly burnished look of a silent-cinema landmark demands a fresh gaze at Keaton’s least characteristic great film.
The General isn’t likely to be the favorite opus of Keaton’s purist fans, but it’s the one with the trappings of ambition and historical poesy.
The partygoers are caught in the tragedy of the pre-liberation closet, a more crippling and unforgiving one than the closets that remain.
Camp it up, Mary, the Boys have been culturally rehabilitated, remastered and are drunk-dialing your number.
There’s no George Kaplan, but there’s still spiffy, hypnotic pleasure in this apex of the Master’s perpetual-motion mode.
The film is the apotheosis of Alfred Hitchcock’s exploration of the wronged man on the run.
Bernie Mac and Isaac Hayes, to whom the movie is dedicated, have had their genuine soul posthumously obscured by this slapstick misfire.
The film is a true tall tale that unfolds like the Great Unwritten Cold War Rock Novel.
Like other recent agitprop docs, Saving Marriage leans on players in the policymaking game as talking heads on issues and tactics.
Zidane: A 21st Century Portrait is an overblown, nearly real-time documentary-cum-“art installation.”
It’s unclear if it can work on stage, stripped of TV-star casting and distancing cine-frills, but the script’s cuts seem skittishly hedged.
In under 20 minutes of screen time, Jeanne Moreau supplies the film with an otherwise absent emotional weight of reconciliation to the anguished history of WWII France.
Frontrunners is a smooth but surprisingly negligible account of an election for student union president.
Another doc surrounding the U.S. military’s embarrassing use of torture, another beautifully photographed film given justice on DVD.
Choke makes its source material’s everything-but-the-kitchen-sink absurdism broader, less expressive, and cheaply reductive.