Evil was one of the best new television series of the 2019-2020 season, a thoughtful consideration of a vast array of moral, spiritual and sociopolitical issues in the guise of a supernatural procedural. The show follows Kristen Bouchard (Katja Herbers), a clinical psychologist with a complicated family life who teams up with David Acosta (Mike Colter), a haunted ex-journalist who works for the Catholic Church as an assessor; he investigates – then confirms or debunks – incidents involving miracles, demonic possessions, and the like. Series creators Robert and Michelle King (the husband and wife team responsible for The Good Wife […]
by Jim Hemphill on Jul 7, 2020Two major anniversaries in digital technology happened in 2019. October 29th marked the fiftieth year since the first message was transmitted via ARPANET, an early network of computers developed by the U.S. Department of Defense and hosted at universities including UCLA and Stanford (where the message was, respectively, sent and received)—a relatively pat and mutually agreed upon milestone for the beginning of the internet as we know it. The other anniversary—the thirtieth birthday of the World Wide Web—is much less decisive: You might notice people celebrating the thirtieth year of the internet’s most transformative application well into 2021. A quick […]
by Joanne McNeil on Dec 10, 2019Based on the real-life friendship between Ken Miles and Carroll Shelby, Ford v Ferrari unfolds deeply within the racing culture of the mid-1960s. Egged on by future Chrysler head Lee Iacocca, Henry Ford commits to an expensive attempt to defeat the Ferrari racing team at the 1966 24 Hours of Le Mans race. Shelby, an engineer and former racer, works with Miles to develop and test the GT40. Ford v Ferrari is the fifth collaboration between director James Mangold and cinematographer Phedon Papamichael. Christian Bale stars as Miles and Matt Damon as Carroll Shelby. Other performers include Tracy Letts (Henry […]
by Daniel Eagan on Dec 10, 2019As a documentary addict who probably attends more nonfiction festivals than can be considered sane, I’m always on the lookout for reasons why I shouldn’t wait for Netflix. And this year’s 9th edition of DOC NYC (November 8th – 15th) is chockfull of one-of-a-kind events. With that in mind, here are just five of my picks for getting off the couch and into the theater. Documentary Now! Presents Original Cast Album: Co-op Not only are creators Seth Meyers and Rhys Thomas two of the big names expected to attend this Centerpiece Presentation, it’s a world premiere. You’ll be able to […]
by Lauren Wissot on Nov 7, 2018As a longtime Wim Wenders fan and devoted admirer of his masterpiece Wings of Desire, I would never have thought it possible that the movie could look better than it did when it was released in 1987. Gorgeous in every sense of the word, from the shimmering black-and-white photography of Henri Alekan (the maestro behind Jean Cocteau’s Beauty and the Beast who Wenders prodded out of retirement to shoot the film) to the profoundly romantic story of an angel who wants to fall to earth and experience the human condition, Wings of Desire was a stunner when it came out […]
by Jim Hemphill on Oct 19, 2018In 1982, in the Hotel Martinez at the Cannes Film Festival, where Steven Spielberg’s E.T. was the closing night film, German auteur Wim Wenders set up a stationary 16mm camera in a room on the sixth floor and asked a succession of directors to film themselves answering a single question: “Is cinema becoming a dead language, an art which is already in the process of decline?” Respondents ranged from yes, Spielberg, to Jean-Luc Godard, Werner Herzog, Rainer Werner Fassbinder and Michelangelo Antonioni, and topics covered included film vs. television, the rise of blockbuster “sensation-oriented” cinema, and the evolving theatrical experience. […]
by Scott Macaulay on Jan 7, 2018Sonia Kennebeck’s National Bird is a humanistic look at those responsible for and affected by America’s divisive drone war program. Those working in drone warfare are thousands of miles removed from the destination of their attack, so National Bird is primarily placed in suburban America, away from the crimes at the film’s core. Through three former air force workers turned whistleblowers (and their victims), Kennebeck’s film is equally about an emotional and spatial disconnect. We do not interact with those we are affecting most – please feel free to draw your own parallels to current American politics here – and therefore the country can […]
by Erik Luers on Nov 11, 2016The Boost Released a year after the Partnership for a Drug-Free America’s “This Is Your Brain on Drugs” campaign frightened children into never eating their morning eggs, Harold Becker’s The Boost was this PSA’s cinematic equivalent for adults. An adaptation of political commentator and actor Ben Stein’s 1982 novel, Ludes: A Ballad of the Drug and the Dream, the film is a cautionary tale in which a real estate salesman and his wife grow addicted to wealth, entitlement and cocaine. In his review for The New York Times, filmmaker (and then freelance writer) Cameron Crowe noted that the book “winds up being largely about […]
by Filmmaker Staff on Apr 21, 2016Two movies at the Toronto International Film Festival, which kicked off Thursday, made me think back to Ben Lerner’s year-old novel 10:04. In it, there’s a conversation about a specific male performance that supposedly begins around middle school and high school-age: “You take your dick out of your pants to piss in a urinal, you start bending at the knees just a little, or otherwise making a show as if you were lifting some kind of weight.” Men performing their maleness through a leaky member shows up in Wim Wenders’s Everything Will be Fine and Kazik Radwanski’s How Heavy This […]
by Whitney Mallett on Sep 13, 2015Sundance SCOTT MACAULAY Check it out: the two top prize winners at Sundance this year, Alfonso Gomez-Rejon’s Me and Earl and the Dying Girl, and Crystal Moselle’s The Wolfpack, both feature as central elements teenagers who stage and film their own versions of classic movies. There’s even overlap between the two films, although Moselle’s Manhattan shut-ins incline more towards Tarantino and Freddy Krueger, while Gomez-Rejon’s teen Pittsburgh auteurs shirk the Romero roots of their hometown for deep dives into the Criterion Collection. For film lovers of a certain age, both Me and Earl and the Dying Girl and The Wolfpack […]
by Filmmaker Staff on Apr 28, 2015