Film Critics' Picks
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It is to Hawke’s credit that he has invested what clout he has gathered in his industry into this study of an artist who never gathered much clout at all — and that the resulting film has the warm, weary rhythms of Foley’s own songs
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Cosmatos delivers (as fans say) on the blood and guts, on cathartic slaughter, on the disreputable pleasure of watching a bereaved hero regard a new weapon and envision nasty uses for it
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Decamping to the remote village of Chinchero in Peru, 14,000 feet up in the Andes, with a crew, some of his closest pals, and (apparently) a mountain of drugs, Hopper improvised much of The Last Movie
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For the family at its heart, everything seems to be in constant, even terrifying disorder, and yet nothing really changes — not after one son discovers he’s different, not even after dad knocks out mom’s teeth
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What becomes clear, watching McEnroe harangue line judges and intrusive photographers, is that the rages were birthed in a disappointed agony, a disgust at a world with inhabitants who persistently failed to see what he did
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The story follows a gang of misfit criminals escaping to a hideout carved into the rocky Italian cliffside, where an eccentric, society-hating artist, Luce (Elina Löwensohn), and her guests sunbathe and make bullet-ridden art
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Its unruly scenes emerge out of disorder, out of chants and shrieks and fractured images, and always threaten to fade back into abstraction
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Most of Nico, 1988 takes place two years before its subject’s death, in 1986, when a now raven-haired Nico (played with an inquisitive weariness by the excellent Dyrholm) tours Europe with a band of amateur musicians desperate for gigs
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Peretz could have given each potential pairing equal time in the story, but he sticks with the most evocative of the two; Juliet, Naked has its charms, and they are named Rose Byrne and Ethan Hawke
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Bujalski frames most of Support the Girls as an almost real-time delineation of chaos, but his storytelling elegance — delicate, nearly invisible foreshadowing; cogent evocations of backstory — adds reflective layers to the surface anarchy
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The film’s wrenching centerpiece is the 2014 death of Eric Garner, killed due to “compression of neck, compression of chest and prone positioning during physical restraint by police” who suspected him of selling loose cigarettes
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Though Moselle’s narrative feature debut, Skate Kitchen, tells a fictional story, the director again draws heavily from her subjects’ own personal histories, this time constructing a story about teen girls finding themselves and each other at the local skate park
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