In a mad little carousel, Anthony Hopkins, Alec Guiness, and many other notable or otherwise actors take their dose of cyanide, then lift a pistol to their heads, one after the other. Still more disappear behind bunker doors, like Bruno...
Marooned following the cancellation of SyFy’s infamous Ghost Hunters, directors Kendall and Vera Whelpton pursue similar material in Sleepless Unrest, concerning the reputed real-life counterpart to the home from The Conjuring. With the turgid pace of a particularly long reality-in-name-only...
As was the case in his previous film, 2018’s John McEnroe: In the Realm of Perfection, Julien Faraut’s The Witches of the Orient is hypnotic, idiosyncratic, often beautiful and surprisingly fun. In regards to that last descriptor, Faraut–who works extensively...
Over the course of Questlove’s Summer of Soul (…Or, When the Revolution Could Not Be Televised), multiple comparisons are drawn between Woodstock and the concert series the film depicts. There are even comparisons specifically between the footage we’re seeing and...
There are so, so many documentaries about musicians out there that I’ve taken to establishing a benchmark that almost none of them can hit. Is the movie more edifying/enlightening/rewarding/etc. than spending a commensurate amount of time just listening to the...
For a long time, I had very little interest in seeing Bullitt, a movie I snobbishly thought of as a Steve McQueen vanity project, something he reverse engineered from the idea for a car chase scene. I softened my stance...
Right now is probably not the most ideal time to be touting a movie’s new restoration overseen by the Hollywood Foreign Press Association. The scandal over that organization’s lack of diversity is only the latest controversy to plague Francine Parker’s...
In his new documentary, All Light, Everywhere, director Theo Anthony (Rat Film) invokes an old adage that, “The eye sees only what it looks for and it looks only for that which it has been taught to expect.” It’s a...
It’s a comment both on the singularity of director Rodney Ascher’s vision and on the singularly weird moment in history in which his new film, A Glitch in the Matrix, has emerged to note that it’s unclear how much of...
In the opening shots of Some Kind of Heaven, Lance Oppenheim’s feature debut, we see a woman perfectly centered in a medium shot in a squarish, 1.33:1 aspect ratio. The next cut turns us around 180 degrees; now we’re behind...