The Disaster Area: From Airport to Airplane! – Part Two
Part Two of a Four-Part Disaster Movie Series by Bill Bria
Bill Bria
The Disaster Area: From ‘Airport’ to ‘Airplane!’ – Part One
“It is during the 70s that the disaster film’s most pure and admirable entries were made, bookended by two significantly different stories involving air travel fiascos.”
Tone in the Films of Joe Dante: Attack of the Multi-Layers!
“Not quite comedies, not entirely horror movies and not normal family films, Dante’s work continues to impress with the layers each work reveals over time, a key factor in their lasting power.”
Sundance Film Festival Review: ‘Omniboat: A Fast Boat Fantasia’
“The film may seem purposeless at first, but eventually it reveals itself to be a portrait of the proud insanity of Florida, one that feels eminently authentic.”
Sundance Film Festival Review: Josephine Decker’s ‘Shirley’
“‘Shirley’ is not just a film about the pain and struggle of creativity for all artists, but about women particularly.”
Sundance Film Festival Review: Josh Ruben’s ‘Scare Me’
“‘Scare Me’ takes a while to get going, awkwardly finding its footing through its opening scenes, but when it settles into the long night of storytelling in the cabin, Ruben’s debut feature becomes a total delight.”
Sundance Film Festival Review: Eliza Hittman’s ‘Never Rarely Sometimes Always’
“‘Never Rarely Sometimes Always’ is an abortion drama that is so grounded in reality, so meticulous in its details, that it becomes one of the most moving and insightful movies made on the subject.”
Interview: Director Noah Lerner on Murray Lerner’s ‘Festival!’
Bill Bria Interviews Noah Lerner About Murray Lerner’s 1967 Documentary Festival!
Review: Alex Gibney’s ‘Citizen K’
“There’s no telling the story of Khodorkovsky without telling the story of Russia, and it’s for that reason that ‘Citizen K’ is rather invaluable to people like this writer, Americans of a certain age who perhaps aren’t well versed in Russian history.”
Review: Todd Haynes’ ‘Dark Waters’
“‘Dark Waters’ may have a downbeat climax, to the degree that may not be considered a climax at all, yet it’s a film made to inspire action, to underline the idea that this crisis is a modern one — it’s still happening, and it’s not resolved.”