I like a good, standardized talking head doc that’s lean, simple, but knows how to tell a nonfiction story through primary sources and such as that. But I like creative, nonstandard docs that feel more like art than journalism, and that’d be Robert Greene‘s Bisbee ’17, which you may recall I wrote about last month. Bisbee ’17 … Continue reading
Fair warning: I really didn’t want to write this piece, and I’m doing it out of misguided obligation. Maybe I’m whining, but cut me some slack; I’ve already written about the #OscarsSoWhite fracas, and also contributed a handful of yadda yaddas to Paste Magazine’s annual Oscar preview (though I spend most of my yaddas turning my nose up at the … Continue reading
“Another year, another slate of movie releases in the history books, and with it a bevy of new characters gracing the big screen. Just like making the movies themselves, though, making a truly memorable character is a major challenge. You have to get them right on the page before you can cast them, for one … Continue reading
Boy, 2015 has been a fabulous year for film. This, of course, is true of most years, so long as you are willing to step outside of your comfort zone and seek out releases from off the beaten path. But it’s especially true of 2015, which doesn’t require viewers to stray too far from their … Continue reading
“Joshua Oppenheimer has dedicated the last decade of his life to exposing the Indonesian genocide that occurred between 1965 and 1966, but he first began to tell his story to the world back in 2013, when Drafthouse Films released Oppenheimer’s film The Act of Killing to critical acclaim and an eventual Oscar nomination. The doc … Continue reading
This post is late. Every hip critic on the web has already published a top ten for the year despite the fact that 2015 is only half over and going through the ranking rigmarole every fall is enough of a pain in the ass on its own without having to do the same song and … Continue reading
“And just like that, the 2015 Independent Film Festival Boston came to a close, not with a whimper, but with a big screen sick-lit adaptation made for the Sundance set. A lot more than that took place before IFFBoston’s closing night blowout, of course, but ending on Alfonso Gomez-Rejon’s Me and Earl and the Dying … Continue reading
A Constant Visual Feast 