To Live and Die in L.A. exhibits a remarkable degree of kineticism.
The film is in tension with the more nuanced view that Ted Hall seemed to have of himself.
Throughout the festival, audiences were occupied with the distinctions between fiction and reality.
Steve James’s film is a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.
To Live and Die in L.A. gets a vibrant 4K transfer and a slate of solid new extras.
Uncle Howard attempts to do much the same thing as I Called Him Morgan but with less success.
Hoop Dreams blends art and protest in a manner that recalls the writing of Charles Dickens and Richard Price.
There’s a sense throughout of director Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
Yesterday’s Oscar nominations came with major snubs, but it certainly wasn’t the first time the Academy stuck it to likely contenders.
Head Games does everything it can to educate and advocate, providing a wealth of information in the process.
List-making is an exercise in futility, but as futile exercises go, it’s one of the best.
Dan Lindsay and T.J. Martin’s Undefeated doesn’t really contain much in the way of genuine surprises.
It’s hard to imagine a better pairing of talent and material than Steve James, Alex Kotlowitz, and the street-savvy, impassioned antiviolence crusaders of The Interrupters.
Steve James is a savvy enough filmmaker to know when to lighten the proceedings lest the heavy, real-life drama prove intolerable to witness.
Hula and Natan is so amusingly foul-mouthed that it becomes, in part, a study in the art of the comedic argument.
I meant to watch the 1933 version of Alice in Wonderland on the big screen at BAM last night, but the heat chased me inside instead and onto my computer.
Time and again,Steve James returns to the image of that beautiful young man in handcuffs, being led to and shoved into the back of a police van.
At the Death House Door slowly and subtly reveals itself to be about far more than one pastor’s life.
It’s sure to play in film courses as an example of how the Guru of Independent Film sadly came to bow before the altar of the Hollywood blockbuster.
Stevie is a depressing account of the ways in which violence perpetuates more violence.