A church hosts a local film debut and discussion about our region’s ugly history with race relations and how it’s relevant today.
Sometimes a film ends and you’re left sitting in your seat, unable to move, speechless and in shock.
Its shortcomings and general lack of conviction are tantamount to a 90-minute head-scratcher.
Roger Ebert had a wonderful life, as Frank Capra might have put it, and one that is beautifully recounted in Life Itself.
A glum-fest is a glum-fest, and Third Person is stern, mopey and airless enough to warrant a Surgeon General’s warning.
Venus in Fur, the latest from master filmmaker and convicted sex offender Roman Polanski, is more than meta: It’s meta meta.
In cinema, there is a fine line separating homage from imitation. Unquestionably, family-friendly sci-fi flick Earth to Echo is the latter.
In Obvious Child, heralded as an “abortion comedy,” director Gillian Robespierre relies on the kind of vulnerability unique to many 20-something women — unplanned pregnancy — but manages to depoliticize the “A” word with a humanistic, intimate perspective.
A remake of the 1953 French film The Wages of Fear, the epic adventure concerns a handful of down-and-out men just desperate enough to agree to drive trucks full of liquid nitro through the South American jungle.
(1977) William Friedkin spends a lot of time in his 2013 memoir discussing why Sorcerer didn’t click with critics and audiences even though he believes it to be better than his previous film, The Exorcist. Now that Warner Home Video has reissued Sorcerer on Blu-ray, we can see what Friedkin’s fuss is all about. A…