His name was Buster Keaton, and for most of the 1920s he was, if not the King of Silent Comedy, the Grand Duke, creating a string of classic comedies in which he performed physical stunts that the best CGI couldn’t re-create today.
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.
"My first steps, my first words, my first memories were all made in Africa. It’s part of who I am,” twelve-year-old Lysander Christo says in the opening scenes of Walking Thunder: Ode to the African Elephant, a 2018 documentary film made by his parents, Santa Fe residents Cyril Christo and Marie Wilkinson. It screens Sunday, April 21, as part of the Taos Environmental Film Festival.
Imagine drilling — let’s say boring — a tunnel from the Kansas Electronic Exchange to the New York Stock Exchange. Now imagine watching a movie about it. Yes, it’s just about that exciting.
The superhero infestation of the multiplex is thoroughly complete, and surprisingly varied. What's missing, however, is a superhero story in the traditional sense, in which a super-powered person with a cape and a secret identity zips around and cheerfully saves those who are in danger. Enter Shazam! the newest Marvel release, now playing at Regal Santa Fe 6, Regal Stadium 14, and Violet Crown.
Slow and steady movement is hardly what artist and experimental filmmaker Bruce Conner was after in his movies. At least that’s true of the three films from the 1960s — Breakaway, Looking for Mushrooms, and Report — that screen this month at the University of New Mexico Art Museum.
Singaporean director Eric Khoo tosses his toque into the ring of food movies with a sweet melodrama that threads a story of family, love, and loss through fragrant kitchens, plates of food, and bowls of ramen.
This methodical account of the 2008 terrorist attacks in Mumbai hits theaters in the wake of the horrific March 16 shootings in Christchurch, New Zealand. Out of sensitivity to the rawness of feelings in New Zealand, the movie’s opening there has been postponed. No such delicacy pertains here.
The much-talked-about elephant in Hu Bo’s An Elephant Sitting Still never appears onscreen, but it isn’t an imaginary beast.
Is there a story older than the destructive power of massive acquired wealth? When we were young and had nothing, we were happy! Now we’re rich, and what’s happened to us? When the gains are ill-gotten, that adds a sordid layer of complication.
It’s not just the disco soundtrack of Gloria Bell that’s reminiscent of the 1970s. It’s the substance of Chilean director Sebastián Leilo’s film, which asserts itself as a modern-day version of the classic “women’s pictures” of that decade.
Stockholm is an Israeli TV miniseries, shoehorned into a feature film format, about a top Israeli economist, Avishai Sar-Shalom (Gidi Gov), who ends up dead a few days before the announcement of the Nobel Prize in Economics, for which he is a leading contender.
To Dust is anything but formulaic. Director Shawn Snyder’s first feature is a thoughtful, morbid, quirky, darkly humorous gem.
In the drama Styx, for Rieke (a name found only in the credits, played by Susanne Wolff), a German doctor with an emergency traffic unit, disasters are a fact of daily life.
What starts out as a celebration turns into a nightmare in Gaspar Noé’s technically masterful but nihilistic portrait of humanity.
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