Shoplifters, playing at the Center for Contemporary Arts, is a Palme d’Or-winning film from Japanese master Hirokazu Kore-eda.
This movie should come with a vertigo warning. But the cinematic rhapsody Into the Canyon, which plays Thursday, Aug. 22, at Violet Crown Cinema, is about much more than cliff walking.
So, The Angry Birds Movie 2 is not great cinema. But the animated sequel — inspired by the popular Angry Birds games, available on mobile devices and other platforms — goes above and beyond what is to be expected from such things.
With too much to say and too many people saying it, and no central narrator driving the story arc, The Spy Behind Home Plate sometimes plods and lacks focus. Still, the guy (Moe Berg) was amazing.
The powerful subject matter is enough to carry this movie, although the telling is sometimes weakened by its too-broad approach.
There’s an aerial quality to Lynn Shelton’s quirky, lively comedy, as her characters seem to fly through the air with the greatest of ease, working without a net.
Most of what we learn from Paul Hegeman’s sweet, understated documentary comes from the music itself. The music is the work of the Estonian Arvo Pärt, described here as the world’s most-performed living composer. If you’re familiar with his music, you know you’re in for a treat.
“Nobody,” observes the elderly psychologist Shlomo (Sasson Gabai, The Band’s Visit), “ever said parenting was logical.”
Music drama, R, 101 minutes, Center for Contemporary Arts, 3 chiles
The appeal of this stirring documentary is the pleasure it affords in spending of a couple of hours in the world of the great Toni Morrison, her friends, and her literary legacy.
There are a few awkward moments and a few self-consciously stylized passages that may feel like gestures toward one director or another, but by and large, it all works.
When Luciano Pavarotti died of pancreatic cancer in 2007, many opera lovers had mixed feelings. The tenor was only 71 and it hadn’t been so long since he was the reigning star of his generation, still giving magnificent performances of his core repertoire into the 1990s.
Much of the new film from French director Olivier Assayas has to do with our head-spinningly rapid transition away from traditional books into the brave new world of Kindle.
Framing John DeLorean, the story of the legendary automaker's rise and fall, is rich with daring, danger, and disaster.
The queen of Late Night is Thompson, whose character’s impeccable timing and dry-as-gin wit makes you wonder why she hasn’t been dominating the late-night TV talk show scene for the last quarter century.
This film is director Dónal Foreman’s redemptive exploration of the similarities and differences between him and his father, told in three separate sections through voice-over narration, still photographs, home movies, and documentary footage of The Troubles, the bitter dispute between the nationalist Catholic minority and the Protestant government.
Writer-director Frédéric Tcheng (Dior and I) has, by and large, done a worthy job of tracing the rise and fall of the man described as America’s first great international fashion superstar.
Jill Magid’s extraordinary art project, the genesis and execution of which unfold in this strange, almost dreamlike documentary, is like a story devised by Edgar Allen Poe, or perhaps Edward Gorey.
It was billed as three days of peace, love, and music. And against all odds, and the dyspeptic forebodings of parents, pundits, and the press, that’s what it turned out to be.
Some 80 years after it was first released, John Ford’s 1939 Western Stagecoach still has the power to grab and keep your attention, despite the now-familiar tropes of the genre.
The Secret Life of Pets 2, an animated film about canines (and other domesticated critters), doesn’t quite live up to the standard set by real-world pooches.
David Bickerstaff takes us inside Amsterdam’s Van Gogh Museum, this time to see the works in the 2018 exhibit Van Gogh & Japan and show us just how candidly he was influenced by Japanese woodblock artists, especially by ukiyo-e master Utagawa Hiroshige.
Immerse yourself in the dazzlingly colorful obsession of artist Claude Monet (1840-1926) with a screening of The Water Lilies of Monet: The Magic of Water and Light on Monday, June 3.
A well-intentioned documentary about a couple who chuck it all to start anew with the purpose of minimizing their carbon footprint neglects the fact that most of us aren’t as privileged as the Chesters.
Taking its title from Eugene O’Neill’s play of the same name, director and screenwriter Bi Gan’s elegiac story of a search for lost love is a provocative noir fantasy. It’s a long, slow dive into the themes of memory and loss.
Despite featuring two of cinema’s biggest stars (literally), Warner Bros.’ budding MonsterVerse — a franchise built around the characters of Godzilla and King Kong — hasn’t gotten a lot of fanfare. This, despite the fact that 2014’s Godzilla, a reboot of the classic monster story, earned nearly $530 million at the box office and was generally well received, save for some quibbles about the human story.
The White Crow, a new biopic, should make for a compelling story about the sacrifices we make for freedom and for art. Sadly, it never quite seems to gel.
Directors Robert Bahar and Almudena Carracedo have dug up that past in this powerful, often shocking documentary that has been years in the making, as they follow a group of activists bent on seeing justice done.
Emily Dickinson — reclusive spinster, or madcap, passionate lover? Publication-shy, or publication-deprived, rebuffed by patronizing male chauvinist editors? In Madeleine Olnek’s playful revisionist look at Dickinson, the chips are all in on the latter options.
When you’ve got a near-monochromatic color palette, as in director Yimou Zhang’s phenomenal war epic Shadow, it makes it all the more dramatic when the bright red blood starts to flow.
Author and film historian W.K. Stratton’s love affair with Sam Peckinpah’s The Wild Bunch started when he first saw it at the Melba Theatre in his hometown of Guthrie, Oklahoma, when he was about 13 or 14 years old.
A documentary is only as good as its subject, and in Dr. Ruth Westheimer, director Ryan White (The Keepers) has a live one: a 4-foot, 7-inch bundle of irrepressible joy wrapped around a core of impenetrable sadness.
Hungarian director László Nemes follows up his Oscar-winning Holocaust drama, Son of Saul (2015), with this enigmatic character study set in Budapest on the eve of World War I.
The Violet Crown plays four vintage Jim Jarmusch movies on four consecutive Wednesdays in May as part of its Auteurs Film Series. The opener on Wednesday, May 8, is Jarmusch’s breakout film Stranger than Paradise (1984).
Hail Satan? is a cogent, witty exploration of the recent activities of a much-misunderstood activist organization.
In Her Smell, the putrefaction of ’90s grunge rocker Becky Something (Elisabeth Moss) rubs off on just about everyone. As the atomic-blonde lead singer of the all-female band Something She, she’s an echo of Hole’s Courtney Love at the height of her train-wreck allure, complete with blustery bravado, smeary eyeliner, ripped fishnets, and druggy dysfunction.
The banality of dialogue and incomprehensibility of plot in Tokyo Drifter can wear a little thin, but director Seijun Suzuki keeps things so visually lively that it’s hard to hold the movie’s deficiencies against it.
Chances are, you’ve never heard of visionary space artist Chesley Bonestell, but Douglass M. Stewart Jr.’s new documentary on the prolific artist makes a strong case that you’ve encountered his work in some form or another.
Guy-Blaché, née Alice Guy, was a pioneer of the cinema, probably the first female filmmaker, and one of the first to recognize the potential of the new technology to do something more than simply record daily life.
Drama, not rated, The Screen, 3.5 chiles
A long-awaited, not-to-be-missed documentary based on a 1972 recording of Aretha Franklin comes to local theaters this weekend. It’s the Queen of Soul, singing her soul out with amazing grace and unearthly talent.
Movie show times
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