Fifty years ago, in 1967, Cool Hand Luke, The Graduate, Bonnie and Clyde, In the Heat of the Night, and The Dirty Dozen rocked American cinemas. And somewhere in a field outside Pittsburgh, George Romero and John Russo were shooting on black-and-white 16mm film a low-budget movie that would found…
The last few months have seen some welcome innovation in the cry-along subgenre of dramas about finding the will to keep living after bodily catastrophe. First, in the notably sincere and unsensational Stronger, director David Gordon Green and his crew strove to strip away as much of such films’ usual…
In the opening shot of Only the Brave, a flaming bear — not just a bear that happens to be burning but one that looks as if it had been created entirely from fire — lunges at the camera in the middle of a blazing forest. The image returns a…
My favorite biopics — those that tell any portion of a real person’s story faithfully — are those that borrow from other genres. Pablo Larrain’s Jackie possesses the kinetic punch of a horror film. Mario Van Peebles’ Baadasssss! is a sharp comedy. And Mike Leigh’s Topsy Turvy is a cutting…
The labyrinthine nature of memory, trauma and guilt is made concrete in Benedict Andrews’ Una, a film that intermittently sends its characters wandering around what looks like an actual maze. In the title role, Rooney Mara puts her perpetually haunted gaze to good use as a melancholy woman whiling her…
Filmmaking is not a poor man’s game. Even as digital cameras get cheaper, making a film worthy of release still requires dough to get off the ground, which means the folks who tell stories through cinema tend to come from backgrounds of privilege. That breeds movies aimed at middle- to…
Something of a prank, a farewell, an art project, a buddy comedy, a vox populi tour of the French countryside, and an inquiry into memory and images and what it means to reveal our eyes to the world, Faces Places is a joyous lulu. It finds the great documentarian and…
Sean Baker’s The Florida Project, the follow-up to the breakout indie comic drama Tangerine, sparkles with joy and hope even as it tells a not-so-hopeful story. In the film, little Moonee (Brooklynn Prince) and her mother Halley (Bria Vinaite) reside in Kissimmee, Fla., in a rundown motel that’s as colorful as…
Some of the best films I saw at Fantastic Fest were nearly unclassifiable, ranging from allegorical religious retellings in the streets of Budapest to paeans of pride for a profession that possibly should have gone by the wayside. What they all have in common is a sympathy for the outsider…
The Meyerowitz Stories (New and Selected) premieres on Netflix on October 13. Adam Sandler’s core as a performer has always been his self-loathing. In his best comedies, he weaponizes it with humiliating ruthlessness. (In his worst ones, it wafts pathetically off him like the day-after stink of a drunkard.) Now,…
Writer/director Angela Robinson’s Professor Marston and the Wonder Women is achingly normal, in a good way. Robinson has proven herself capable of melding her sincere and often endearingly campy sensibilities to any cinematic style — spy spoofs (D.E.B.S.), Disney family flicks (Herbie: Fully Loaded), comic-dramas (The L Word), sexy vampire…
America may be crumbling, but here’s at least one truth that might be cheering: They’ve finally figured out biopics. Ever since Walk Hard kicked its ass, that hokiest, flabbiest, most hilariously reductive of movies genres has become, like horror, the rare genre where the studios allow filmmakers to take risks,…
Spielberg premieres Oct. 7 on HBO.
BoJack Horseman streams on Netflix It’s not a huge surprise that my sensitive and kind-hearted spouse could be left sobbing by an episode of a popular TV show. She’d say herself that she’s an easy mark, TV showrunners. But it’s definitely a surprise when any show even tries. TV writers…
Let me set the record straight: Dolores Huerta created the rally cry “Si se puede,” otherwise known as “Yes we can.” If you’ve only ever seen the 2014 film Cesar Chavez — about the legendary farmworkers union president — or watched an Barack Obama campaign speech, you may have thought…
“This was the first time I ate food from a garbage can,” says the documentarian Nanfu Wang some 10 minutes into I Am Another You, an excellent, intuitive study of American wanderlust. We see her doing just what she’s described, as she’s handed off her camera to the 22-year-old street…
With its cast of Kate Winslet and Idris Elba, its original non-franchise source material, its adult concerns and utter lack of superheroics, Hany Abu-Assad’s The Mountain Between Us stands as the kind of movie that grown-ups I know often say they wish the studios would make — and then tend…
The recipe for a perfect Christmas horror film — think the 1974 classic Black Christmas or 2010’s more arty, Finnish offering Rare Exports — calls for dark humor, at least one scene of bright red blood on snow, some kind of creepy Christmas toy or ornament, and a healthy dollop…
Still trudging through the blasted desertscape of the mind 33 years after Paris, Texas, Harry Dean Stanton hoofs along beneath the opening titles of Lucky, his richly aimless swan song, past cacti and scrub brush, the sparseness of the landscape suggesting something of the lead’s drift of mind. Stanton’s Lucky,…
Gerald’s Game premiered on Netflix on September 29. One of the most hilarious things I’ve ever seen on television comes early in The Langoliers, a 1995 ABC miniseries adapted by Tom Holland from a Stephen King novella. It’s the one about a small group of travelers waking up on a…
If I could sum up my experience this week at the Austin-based genre film festival Fantastic Fest in a word, it would be “exhausting.” In years past, that complete physical and mental breakdown might come mostly from the mind-blowing cinema and rowdy events of the festival, but now it is…
Out of the eighty-two feature films at Fantastic Fest this year, eleven were directed by women, and four of those were co-directed by a man. For the slow in math, that means women directed only about 13 percent, which is pretty dismal, though on par with Cannes and 8 percent…
