Bob Roberts is a shrewdly drawn portrait of the unsettling intersection of entertainment, business, and politics.
Fellini’s hallucinatory Roma gets a pristine 2k transfer and a few meaty bonus features from Criterion.
Robert Gordon and Morgan Neville reinforce the very circumstances they outwardly condemn.
The unbalanced appraisal of Vidal’s life and work in Nicholas Wrathall’s documentary diminishes the effect of the writer’s engaging dissension of American political policy.
It’s generally agreed that films fall into one of three categories: The Good, The Bad, and the So-Bad-It’s-Good.
Purdy’s feeling for the patterns of individual speech, often expressed in first-person narration, tends to surprise the reader with an unforeseen potency.
When everything comes crashing down, as it always does in lives manufactured rather than lived, what are you left with, to whom do you turn?
Political satires are plentiful, but I didn’t want to get overloaded with them so many worthy films missed the cut.
David Leaf and John Scheinfeld’s The U.S. vs. John Lennon doesn’t strain to be topical.
The Cinderella of the anti-Bush documentary brigade, Eugene Jarecki’s Why We Fight arrives late to the administration-critiquing ball.
Fenton Bailey and Randy Barbato’s documentary uses cheeky montages to recount Deep Throat’s unlikely path to infamy.