Two halves form a harmonious whole in Feast of the Epiphany, the new feature from Reverse Shot editors Michael Koresky and Jeff Reichert and RS writer Farihah Zaman. Feast made its world premiere on June 23 at BAMcinemaFest 2018. More dates to come.
It is of tantamount importance that Ava is a woman, that all previous iterations created by Nathan were women, and that they are, as conscious, female humanoids, under the subjugation of their creator, who doesn’t see this as problematic because he views them as less than.
Blue is so universal in its portrayal of love, so honest about the role that sex plays in becoming an adult, and so painfully accurate in capturing that hollow feeling that follows losing someone against one’s will, that the experience of the film transcends flaws both real and imagined.
The Pirates! Band of Misfits is a terrific concept (the dry Monty Python–esque wit and handmade charms of stop-motion animation masters Aardman applied to a swashbuckling high seas adventure) casting desperately about for a movie
Films about the experiences of returning veterans have long been on American screens, from 1946 Oscar-winner The Best Years of Our Lives to 2010’s The Messenger (one of several recent contributions to the genre), but writer-director Liza Johnson manages a fresh, surprising approach to the subject matter.
Though Robinson never once appears onscreen, he is nevertheless a compelling and well drawn character. Seeing the world through the images that he created induces a feeling of greater intimacy with him than the traditional cinematic set up of relating face to face ever could have.
With its sweeping views of Tara and its still-shocking mass of injured soldiers horrifically piled up in an Atlanta square, Gone with the Wind is big in a literal sense. But the film is also remarkably intimate, allowing seemingly small things to come into focus as they are thrown against the relentless march of history.
When discussing Miranda July’s second feature film, The Future, many writers have fixated on the relationship between the artist’s New Age-y pixie persona and her art, weighing in on how twee and precious her latest effort is. Relevant, perhaps, but not entirely fair to her work, which has matured significantly over time.
Orphans and primitives both, Bay and Nim approach their respective means of communication—cinema and signing—awkwardly, and from a removal; their resulting control over their languages often suggests clever mimicry instead of true language.
Just as pageantry has long been a part of American culture, so has the National Spelling Bee, a pervasive test of academic acumen despite the fact that it requires a kind of mechanical rigor that has gone out of favor with modern educational systems in this country.
The movie is less a laugh-desperate extended SNL skit than a very funny character study of a woman’s depression and her struggle to get herself back on track. We already knew Wiig could make us laugh, but we didn’t know she was a strong dramatic actress.