In my recent review of Nickel Boys, I discussed the American cinematic tradition of men fighting for their humanity against oppressive structures.
Using two GoPro cameras, 22-year-old filmmaker Samuel Habib introduces himself to the world — and the world to his perspective.
Love is rare in the year 2024 but so is the coherence in Summer Shelton’s new movie.
This weekend at Village East by Angelika the powerful documentary “Front Row” world premiered at DOC NYC before a sold-out crowd.
“Have you tried the pigs in a blanket?” Those were the first words I said to Mayor Bloomberg as he prepared for another photo moment at the opening gala of the Icons of Culture Festival at The Perelman Performing Arts Center (PAC NYC).
The TCL Chinese Theatre in Hollywood hosted an unforgettable evening as Glenn Close, Charlie McDowell, and an impressive lineup of talent came together to celebrate The Summer Book, McDowell’s latest directorial endeavor.
There are exactly two movies that left me sitting in my seat for ten minutes after the credits rolled. The first one is Everything Everywhere All at Once, and the second is Nickel Boys.
Independent cinema may be the last vestige of creativity in Hollywood and Dovecote proves that in a number of ways.
I saw the first Smile movie. I heard the buzz, bought into the hype, and was pleasantly surprised by the new and innovative take on the typical ghost-slash-demon jumping from victim to victim genre (think It Follows). I left the theater feeling content and excited for the franchise’s future.
Do we as humans have the ability to forgive and move on? Or is it something more complex? Titus Kaphar’s latest film, “Exhibiting Forgiveness,” stands out as a poignant exploration surrounding the idea of forgiveness, identity, and the transformative power of compassion. Kaphar, a renowned painter and filmmaker, delves into themes such as generational trauma, grace, and forgiveness that resonate deeply with audiences, pushing the boundaries of traditional narrative and visual art.