There are funny and heavily satirical moments of Hollywood excess and ennui. Think Stardust Memories with Bret Easton Ellis’s acid view of Hollywood. If some passages fly over viewers’ heads, there is still the breathtaking cinematography by Emmanuel Lubezki.
A stylish, unique piece of speculative dystopian filmmaking, set in Brooklyn at some indeterminate time in the near future.
The cinematography, the subtly paced storytelling, and the doleful music score combine to form an artistic expression akin to free verse poetry.
This is a sly, well-made little horror/comedy that puts a unique spin on the demonic possession genre while providing just enough chills and laughs along the way.
As in the recent documentary Amy, questions of who has the right to tell a deceased musician’s story come into stark question. (Fans? The family?) Tumbledown, from first-time feature director Sean Mewshaw, brings up a lot of arresting issues. A talented musician dies after releasing only one brilliant album, and as his widow struggles to […]
While some may balk at the arrival of yet another indie film delving into the angst of a twentysomething New York writer who broods and self-destructs, James White, the debut from writer-director Josh Mond, takes a slightly different tack that sets it apart. It stars Christopher Abbott of Girls fame. On that TV show, he […]
It would be a gross understatement to say that I Smile Back is a bit of a downer. The film covers depression, drug use, and childhood trauma, among other things. The story itself is fairly straightforward, but it’s the main performance that makes the experience worthwhile: Sarah Silverman commits completely to an extremely challenging character. […]
A foul, jarring, but effective little film, Stinking Heaven shoves our faces into the very toe jam of addicts struggling to achieve sobriety. Set in the 1990s and shot on some sort of Betamaxy videotape to give it that authentic, grimy ’90s feel, the film depicts daily life in a suburban New Jersey commune catering […]
Just the facts, ma’am. That catchphrase from the old Dragnet TV series well describes director Tom McCarthy’s efficient, workmanlike approach to his beat-by-beat unmasking of a scandal. In 2002, the Boston Globe published an exhaustively researched exposé of how the city’s Roman Catholic diocese shielded hundreds of sexual abusers among its ranks for decades. This […]