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Film, TV & Streaming

Showing 419 - 440 of 6002
France’s <i>The Apparition</i> Makes a Fine Mystery Out of a Sighting of Mary

France’s The Apparition Makes a Fine Mystery Out of a Sighting of Mary

By Alan ScherstuhlOctober 12, 2018

Young Anna (Galatea Bellugi), intense and charismatic in the manner of another teenaged French seer, reports that Mary has imparted to her a message calling for the building of a church and caring for the world’s poor

Damien Chazelle’s <i>First Man</i> Tracks the Small Steps Behind That Giant Leap

Damien Chazelle’s First Man Tracks the Small Steps Behind That Giant Leap

By Bilge EbiriOctober 11, 2018

A tense, terse drama that plunges us headlong and handheld into the high-risk world of the space race in the 1960s, the film spares few moments for reflection or reverie

<i>The Hate U Give</i> Gives Powerful Voice to a Young Woman’s Outrage

The Hate U Give Gives Powerful Voice to a Young Woman’s Outrage

By Alan ScherstuhlOctober 11, 2018

The Hate U Give takes time to focus on the nuances of Starr’s life, on the ways Williamson has split her consciousness, on the effort of code-switching, on the layers of self that Starr must sort through in everyday interactions

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Like Its Alien Goo, <i>Venom</i> Is at War With Itself

Like Its Alien Goo, Venom Is at War With Itself

By Bilge EbiriOctober 5, 2018

This alien being, which helpfully calls itself Venom, is a fairly terrifying creation: a many-fanged, slobbery, snake-tongued monster that loves to eat people’s heads

Robert Redford Twinkles as <i>The Old Man & the Gun</i>’s Career Crook

Robert Redford Twinkles as The Old Man & the Gun’s Career Crook

By Alan ScherstuhlOctober 4, 2018

Each beat of this plays out with exquisite delicacy, as does the exchange where the crook lays out, with exacting detail, how he’d rob this diner if it were a bank — and then takes it all back, letting her think he was joking

Rock-Climbing Doc <i>Free Solo</i> Thrills and Terrifies

Rock-Climbing Doc Free Solo Thrills and Terrifies

By Alan ScherstuhlOctober 4, 2018

The filmmakers capture Honnold’s 2016 and 2017 attempts to complete the first “free solo” climb of these granite cliffs, and the suspense is thrilling, agonizing, perhaps indecent

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Bad-Cop Drama <i>Monsters and Men</i> Channels Helplessness in a Time of Outrage

Bad-Cop Drama Monsters and Men Channels Helplessness in a Time of Outrage

By April WolfeOctober 3, 2018

At times, Green’s film feels too familiar, exploring what we already know — cops can be dirty and may retaliate if they’re crossed

The Flashy <i>Studio 54</i> Keeps Too Much That Matters Behind the Velvet Rope

The Flashy Studio 54 Keeps Too Much That Matters Behind the Velvet Rope

By Alan ScherstuhlOctober 3, 2018

Footage of Studio life — the lavish lights, the Broadway-style props and performance numbers, the heaving mass of beautiful people — plays here mostly in chaotic montage, with few shots related to the one coming next

<i>Night School</i> Is Hilarious When It Actually Lets Its Stars Go Wild

Night School Is Hilarious When It Actually Lets Its Stars Go Wild

By Bilge EbiriOctober 3, 2018

The idea practically sells itself: Kevin Hart has to take night classes to get his high school degree, and Tiffany Haddish plays his suffer-no-bullshit teacher

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Hard Topics Tackled in Phoenix Art Museum’s Short Film Showcase

Hard Topics Tackled in Phoenix Art Museum’s Short Film Showcase

By Angelica CabralOctober 2, 2018

Don’t expect a happy ending in these films.

Bradley Cooper’s <i>A Star Is Born</i> Earns Every Tear It Jerks From You

Bradley Cooper’s A Star Is Born Earns Every Tear It Jerks From You

By April WolfeSeptember 30, 2018

To fall in love with A Star Is Born is to embrace these paradoxes and, to quote a song Gaga sings in the film, go “off the deep end” and submerge oneself “far from the shallow.”

Keira Knightley’s <i>Colette</i> Storms Paris and All the Rules of Sexuality

Keira Knightley’s Colette Storms Paris and All the Rules of Sexuality

By Alan ScherstuhlSeptember 28, 2018

As her marriage opens up, and Colette begins to take lovers of her own, Knightley summons up a moving sense of both relief and recklessness

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The Irrepressible <i>Science Fair</i> Charms and Pleases — But What About the Science?

The Irrepressible Science Fair Charms and Pleases — But What About the Science?

By Alan ScherstuhlSeptember 28, 2018

The cameras aren’t even there when the kids officially present their projects, but the filmmakers still wring the big day for all the drama they can, putting off as long as possible the revelation of whether any of their subjects win

<i>The Sisters Brothers</i> Upends the Masculine Codes of the Western

The Sisters Brothers Upends the Masculine Codes of the Western

By April WolfeSeptember 27, 2018

Ultimately a story about brotherhood, friendship and the insecurity of life in a violent place, the film injects a sweetness and innocence into the genre, mostly through one stellar performance by John C. Reilly

Unlike Joan Jett’s Music, <i>Bad Reputation</i> Doesn’t Cut Deep Enough

Unlike Joan Jett’s Music, Bad Reputation Doesn’t Cut Deep Enough

By April WolfeSeptember 27, 2018

Too bad, then, that even Laguna’s input doesn’t get to the heart of Jett’s essence, as Bad Reputation comes off more as a fanboy’s declaration of reverence to the queen rather than an interrogation of one of the most iconic women in music

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Catch a Screening of <i>Sorry to Bother You</i> With Director Boots Riley

Catch a Screening of Sorry to Bother You With Director Boots Riley

By Douglas MarkowitzSeptember 26, 2018

The film stars LaKeith Stanfield as a telemarketer climbing a corrupt corporate ladder.

Chloë Sevigny’s Great, but <i>Lizzie</i>’s Best Whack Isn’t Enough

Chloë Sevigny’s Great, but Lizzie’s Best Whack Isn’t Enough

By Alan ScherstuhlSeptember 21, 2018

… After a somewhat compelling hour suggesting all the reasons that Borden might be willing to kill, Macneill and screenwriter Bryce Kass tantalize with the possibility of their subject’s innocence

<i>I Think We’re Alone Now</i> Makes an Apocalypse With Peter Dinklage Kind of Blah

I Think We’re Alone Now Makes an Apocalypse With Peter Dinklage Kind of Blah

By Lara ZarumSeptember 21, 2018

Despite the efforts of Dinklage and Fanning, both always pleasant enough to watch, and Morano’s keen eye — witness how she rarely puts both Del and Grace together in one frame — neither character really comes to life

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<i>Love, Gilda</i> Lets Gilda Radner Speak for Herself

Love, Gilda Lets Gilda Radner Speak for Herself

By Alan ScherstuhlSeptember 21, 2018

Radner narrates, in a way, through her own audio diaries, plus some snippets of interviews and judicious excerpts from the audiobook of her perfectly titled — and just-barely posthumous — memoir, It’s Always Something

Like Blaze Foley Himself, Ethan Hawke’s <i>Blaze</i> Won’t Pander to Anyone

Like Blaze Foley Himself, Ethan Hawke’s Blaze Won’t Pander to Anyone

By Alan ScherstuhlSeptember 21, 2018

It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs

In <i>Life Itself</i>, Women Have to Die So Men Can Learn We’re All Connected

In Life Itself, Women Have to Die So Men Can Learn We’re All Connected

By April WolfeSeptember 21, 2018

There’s a sense that Fogelman … has been inspired in part by the broken narratives of Charlie Kaufman, as the first 10 minutes of this film feature a story-within-a-story meta fake-out with Jackson as himself, narrating the action of a screenplay written by forlorn drunk Will (Isaac)

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The Online Mob Gets Bloody Literal in <i>Assassination Nation</i>

The Online Mob Gets Bloody Literal in Assassination Nation

By Alan ScherstuhlSeptember 19, 2018

Despite the killing-spree craziness of its final reels, much of the film is a how-the-kids-live-now potboiler, replete with guileless dirty talk and immense bedroom windows that seem to have been installed with peeping in mind

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