Know the Cast: ‘Wyatt Earp and the Cowboy War’
‘Wyatt Earp and the Cowboy War’ Cast: A Vague Visages guide for every actor and character in Patrick Reams’ 2024 docuseries.
Review: Cara Mones and Caroline Suh’s ‘Sorry/Not Sorry’
“Sorry/Not Sorry’ is fascinating with its exploration of ethics, but Mones and Suh’s documentary essentially plays out like a CliffsNotes version of The New York Times’ 2017 report about Louis C.K.’s sexual misconduct.”
Old Favorites and New Classics: A TCM Classic Film Festival Diary
“My TCM Fest weekend, packed full of classic movies, was not only a fun experience in April 2024, but it made me feel hopeful that film preservation is alive and well, and that these beloved — if occasionally dusty — pictures aren’t going anywhere.”
Review: Helena Coan’s ‘The Lie: The Murder of Grace Millane’
“Part of the film’s effectiveness lies in the iceberg-style storytelling, which respects the audience’s intelligence by showing and addressing crime scene evidence without detailing the grisly specifics.”
BFI Flare Review: Luke Willis’ ‘Lady Like’
“A unique sense of intimacy arguably makes ‘Lady Like’ the strongest of all the ‘RuPaul’s Drag Race’ documentaries produced so far, but that doesn’t mean it is flawless in the wider medium.”
Berlin International Film Festival Review: Meryam Joobeur’s ‘Who Do I Belong To’
“‘Who Do I Belong To’ is social realist cinema at its stodgiest and most self-serious.”
Review: Jessamyn Ansary and Joyce Mishaan’s ‘Lee Fields: Faithful Man’
“Shifting timelines in ‘Lee Fields: Faithful Man’ spotlight the subject’s fighter mentality and relevance in 2020s pop culture.”
Review: Arthur Musah’s ‘Brief Tender Light’
“‘Brief Tender Light,’ with all its cultural complexities, offers an access point for worldwide viewers willing to look beyond lazy stereotypes and reductive interpretations of not just Africans but fellow humans in general.”
The Messiness of Belonging: On Martina Radwan’s ‘Tomorrow, Tomorrow, Tomorrow’
“Powered by Radwan’s empathy and the subjects’ collective determination, ‘Tomorrow, Tomorrow, Tomorrow’ is a must-see world cinema documentary.”
Review: Toby Amies’ ‘In the Court of the Crimson King: King Crimson at 50’
“Amies’ revelatory rock doc succeeds by exploring the sacred and profane aspects of the subject’s musical mentality.”