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Luchino Visconti made theatrically tinged movies driven by music, indebted to painting, sculpture, architecture, and literature—he accomplished, dare I say, a fusion of the arts.
The landscape and architecture are beautifully photographed, but more important are the array of faces and the music of the voices.
Tehran Taboo –- which never would have been allowed to be filmed in its title city—is technically accomplished in its often gorgeous visuals and its textured sound design.
Dorothy Mackaill is riveting as Gilda, a wronged working woman turned prostitute in the no-options depths of Depression-era New Orleans.
The Testament of Dr. Cordelier is not a horror movie --it is more of a dark comedy.
From the homogeneous small town of Spettacolo, we travel to One October's ethnic gumbo of eight million in New York City.
The absurdist comedy Sylvio suffers from chronic low energy, but Tormenting the Hen is mysterious and magnetic.
Finding Kukan is a compelling detective story covering the fields of World War II history and film preservation.
Marcel Pagnol’s great Marseille Trilogy is a tragicomic love story set on the bustling, sun-drenched docks of a Mediterranean port.
There was a good energy to the depiction of movie-Woody’s nocturnal odyssey, and a few funny bits.
A 30-film series dedicated to Busby Berkeley, Hollywood’s architect of mind-blowing musical production numbers.
The documentary is a highly enjoyable musical and social history of the group and its times.
Demon is a powerful movie that, once seen, can’t be easily shaken off.
What made the authorities especially eager to tape Lenny Bruce's mouth shut was his vigorous social and religious satire.
Digging Up Mother: A Love Story is Doug Stanhope's disarmingly funny, unexpectedly sweet memoir.
Popstar’s silliness is monumental, and wonderful.
A Bigger Splash has a pleasing richness wherein the sensual elements bind the individual characters to each other, and to nature.
A rare opportunity to see -- on the big screen -- a film starring Boston-born silent comedian Raymond Griffith, a master of the debonair pratfall.
One of the most gorgeous films in recent memory, Boone is sure to give you an appreciation of the enormous work done on Boone Farm.
Actress Kate Lyn Sheil travels to Sarasota to star in a biopic where she will be filmed re-enacting TV broadcaster Christine Chubbuck’s suicide.
Garrett Zevgetis’s multi-dimensional documentary about the struggles of Michelle Smith, legally blind and diagnosed with Asperger’s Syndrome, is hardly predictable.
Varieté will be the tenth score composed by a Sheldon Mirowitz class and played by the Berklee Silent Film Orchestra.
The Lady in the Van is quite enjoyable, but has a significant flaw.
Jean Epstein's body of work is full of pleasures, surprises, and the revelation that this vigorous director broke ground for filmmakers and cinematic movements to come.
I loved this book, and it will hold a cherished place on my comedy book-shelf.
Yet another cinematic variation on Mary Shelley's novel -- and this one too often opts for slick jolts of adrenalin over credibility.
Bill Griffith, the creator of Zippy the Pinhead, dives deep into his personal life in his extraordinary new graphic memoir.
The improved viewing experience of the 1931 version of The Front Page enhances the stature of director Lewis Milestone as an early-talkie innovator and shows off the crack ensemble cast.
A labor of love that’s more than merely that, Call Me Lucky is one of the few great movies to come out so far this year.
The narrative's joining of adolescent romance and occult-tinged police procedural occasionally seems basted together, there’s a winning combination of goofy humor and social critique.
Happily, Blythe Danner is the central figure in an immensely pleasurable indie film that blends the integrity of an art film with the cozy accessibility of the mainstream.