Passing away last year at the age of 77, Roger Ailes left behind a divisive legacy in television broadcasting, as well as many controversies including suggestive misogyny and racism, sexual assault towards female journalists, and his petty temperament when things didn’t go his way.
Almost Almost Famous is high energy and often kind of cheesy – much like the performers it follows. While the film certainly isn’t terrible and there are a handful of moments that feel honest and genuine, this is a documentary that never quite manages to find its footing.
Yorgos Lanthimos has been one of the most exciting voices in cinema for the past decade; from bringing attention to Greek cinema to bringing that off-kilter absurd style to an American audience. Across four features, Lanthimos’ style has been apparent in a variety of ways; from his films’ unusual stilted acting style to the general oddity of his imagery. Now, in his latest feature The Favourite, Lanthimos shows that his style is inherent, even if…
The Happytime Murders is a bawdy comedy that’s being sold as “dirty Sesame Street”. However, as the film fired off obscenities and crude visual gags, I couldn’t help but be distracted by other filmmaking elements.
Twitter has been featured in movies, but Laurie McGuinness’ Funny Tweets is allegedly the first film about Twitter, an open forum that allows users to connect to the world through condensed text. The film reminds its viewers that it’s “not affiliated with or sponsored by” the social media platform but, hey, they could’ve fooled me. The documentary is overflowing with gratitude expressed by comedians and writers who sing the Twittersphere gospel.
Inspired by a true story, Tiger is a sports drama about the prejudice a rising athlete faced when he was told to abide by outdated expectations.
When a film’s only flaw is its title, it’s safe to say that audiences are in the clear. Such is the case for Dead in a Week (Or Your Money Back), an edgy British comedy starring two-time Oscar nominee Tom Wilkinson (In the Bedroom, Michael Clayton) and Aneurin Barnard (Bigger).
A modern day fantasy has been in order, and Border could be the answer – for now. Co-writer/director Ali Abbasi provides audiences with a cogent story that doubles as an allegory on minorities and treats its fantastical characters humanely. It’s what Bright aspired to be.
“We should have known this.” “Someone must have known.”
The central question at the core of Nathaniel Kahn’s The Price of Everything is how importantly, or inherently, is money connected to art? The answer reveals itself through the understanding of artists, historians and dealers, with that importance going higher as monetary power does. In other words, this documentary ultimately makes two points: art is inherently financial, and capitalism will slowly but surely cause the demise of it.