Review: Amy Bandlien Storkel and Bryan Storkel’s ‘The Pez Outlaw’
“In ‘The Pez Outlaw,’ the Storkels include enough material centered on the durable and enchanting romance between Glew and wife Kathy to keep viewers firmly on his side.”
Marc Shaffer Explores the Legend of Helios in ‘Exposing Muybridge’
“At just under 90 minutes, ‘Exposing Muybridge’ doesn’t wear out its welcome, but there are a few aspects of the subject’s colorful legacy that could have used more detail and consideration.”
A Reductive Montage of Love: ‘Meet Me in the Bathroom’
“‘Meet Me in the Bathroom’ succeeds when viewed as a celebratory snapshot of the Big Apple’s pre-9/11 rock youth. Still, the overall approach feels off and somewhat uninspired.”
London Film Festival Review: Laura Poitras’ ‘All the Beauty and the Bloodshed’
“Poitras avoids melodrama, catharsis and sensationalism in ‘All the Beauty and the Bloodshed.’ The result is acutely devastating.”
Brett Morgen Keeps His ‘Lectric Eye on the Iconic David Bowie in ‘Moonage Daydream’
“‘Moonage Daydream’ is committed to art and artist. With few exceptions, like the acknowledgement of Bowie’s love for Iman, private life stays private.”
‘Nothing Compares’: Kathryn Ferguson Covers Sinéad O’Connor in Strong Music Doc
“Ferguson applies remarkable editorial skill to make judicious choices regarding what to keep in ‘Nothing Compares’ and what to omit.”
On ‘The Jeffrey Dahmer Tapes,’ ‘Blonde’ and Fatalist Netflix Filmmaking
“A fatalist flick like ‘Blonde’ — which, importantly, is not a biopic — and serial killer documentaries like ‘The Jeffrey Dahmer Tapes’ can at once be exploitative and insightful. Both things can be true.”
Review: Margarethe von Trotta’s ‘Searching for Ingmar Bergman’
“‘Searching for Ingmar Bergman’ is one of the better documentaries about a legendary filmmaker.”
‘Anonymous Club’: A Gift from the Rock Gods
“Cohen poignantly investigates the anxieties of an untraditional rocker who is expected to fulfill traditional industry duties.”
Review: Eva Vitija’s ‘Loving Highsmith’
“‘Loving Highsmith’ is like a carefully curated Instagram account — it tells part of the story and avoids the messy stuff.”
Rich Man, Poor Man: Keith Maitland’s ‘Dear Mr. Brody’
“Maitland’s sense of graphic design and visual organization are chief pleasures of ‘Dear Mr. Brody.'”
Review: Emily Kunstler and Sarah Kunstler’s ‘Who We Are: A Chronicle of Racism in America’
“Directors Emily Kunstler and Sarah Kunstler blend creative visual storytelling with keen legal and historical acumen to transform Jeffery Robinson’s potent stage lecture into one of the most vital documentaries of the year.”
Review: Philipp Virus’ ‘Freakscene: The Story of Dinosaur Jr.’
“Director Philipp Reichenheim (who also uses the handle Philipp Virus) compiles a serviceable primer on the wall of sound produced by one of the seminal power trios of 1980s independent/DIY music.”
A Film Arising from the Sea and the Sand: ‘Araya’ at Cinema Rediscovered
“Given Araya’s small-scale origins in a country without a major film industry, it remains a fascinating testament to both the lives of the peninsula’s inhabitants and the film’s own creation.”
Collecting Movies with Raymond Rea
Raymond Rea Interview: Greg Carlson and the filmmaker/educator discuss movie collecting.
Soundtracks of Cinema: ‘Shania Twain: Not Just a Girl’
‘Shania Twain: Not Just a Girl’ Soundtrack: A Vague Visages guide for every featured song in Joss Crowley’s 2022 Netflix documentary.
There Are No Stupid Questions
“‘Ruth Stone’s Vast Library of the Female Mind’ is an inspiring excavation of the subject’s subconscious; a trip that shouldn’t be avoided by off-the-grid creatives.”
Soundtracks of Television: ‘D.B. Cooper: Where Are You?!’
‘D.B. Cooper: Where Are You?!’ Soundtrack: A Vague Visages guide for every featured song in Marina Zenovich’s 2022 Netflix docuseries.
Not Forever on Earth: The Moving Image as Spiritual Medicine in Dario Guerrero’s ‘Rocío’
“‘Rocío’ is one of those special films that has the power to heal and calm the mind.”
Review: Tia Lessin and Emma Pildes’ ‘The Janes’
“Lessin and Pildes smartly frame speakers in well-lit, detailed close-ups, often in the cozy surroundings of living spaces and kitchens. The approach underlines the common and the everyday without diminishing the legacies in action.”