Dermansky brings a refreshing mix of honest fandom and driving curiosity to her second novel.
With open mind and heart, and with utmost respect, the director films his parents and siblings, but this noble approach is far too tentative.
The raw facts are undeniably where the real emotion of Neshoba: The Price of Freedom lies.
In lieu of a flurry of left hooks and roundhouse kicks, we stay safely in Stallone’s comfort zone of shoot ‘em ups and shit getting blown up.
What’s most fascinating are the dirty little secrets George Butler chooses to leave off-screen, starting with the competition itself.
Shari Springer Berman and Robert Pulcini seem in a desperate losing battle trying to elevate their film above its shtick.
Because LaBute has been stuck on a loop for the past decade without challenging himself, how can he possibly challenge his audience?
Mads Mikkelsen possesses the same distilled intensity as Nicolas Winding Refn’s style.
Lisa Cholodenko is one of the more radical visionaries working in American indie cinema today.
At Rooftop Films, the magic of cinema slices right through the hype.
Annyong Yumika is nothing if not thorough, often amusingly so.
One can’t help but think Werner Herzog would be tickled pink by both the doc and the rebel director behind its lens.
By a certain point, Raoul Peck’s Shakespearean grandeur turns to shrugging ludicrousness.
The film is crafted with love for everything from raindrops on a windshield to a cheesy Elvis impersonator.
Jim Finn’s film feels like a throwback to the wild inventiveness of public access TV.
Unfortunately, centuries-old rivalries die hard—and the very thing that unites can also divide.
Pity the Focus Features marketing team behind Babies.
Perhaps the biggest question surrounding this show is why it’s even on Broadway in the first place.
It leads one to only wonder about this compulsion to delve directly into an artist’s life for answers to the art when it’s all mere speculation in the end.
Don’t go looking for a story where there is none.