Film/TV

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Page 46
Like a Léger painting, but it moves.

Léger’s ‘Ballet Mécanique’ at Art Museum

Léger and Antheil, together at last

Fernand Léger’s experimental 1924 film was too short for Georges Antheil’s avant-garde musical score. Now the two have been joined together at last, to visually stunning and aurally exciting effect.
Steve Cohen

Steve Cohen

Articles 2 minute read
Sophie Nelisse takes comfort where she finds it.

Brian Percival’s ‘The Book Thief’

Horrible events in pastel colors

The Book Thief paints the horrors of Nazi Germany in fairy tale pastels— which may be the only way today’s generations can begin to make sense of the unthinkable.
Naomi Orwin

Naomi Orwin

Articles 5 minute read
Hemsworth with Portman: Still pompous, but less wooden.

‘Thor: The Dark World’

Between superhero and myth

For 50 years, Marvel Comics’ Thor character has straddled the uneasy divide between the fantastic and the mundane. The latest installment of Thor’s cinematic franchise is a mixed bag but does a decent job of balancing the two genres.
Gary L. Day

Gary L. Day

Articles 3 minute read
Will Cape May someday supplant Cannes?

More lessons from the Cape May Film Festival

Cutting students some slack

Jackie Atkins dismissed the student work at the Cape May Film Festival as not worth watching. That perspective ignores the learning curve that all artists experience.
Susan Beth Lehman

Susan Beth Lehman

Articles 3 minute read
Ingram in ‘Boardwalk II’: At last, a grownup.

Lessons from the Cape May Film Festival

Those who can, do; those who can’t, attend film schools

Why do America’s many film schools produce so few good movies? And why are the best films made by school dropouts with real-world experience? To ask the question is to answer it.
Jackie Schifalacqua

Jackie Schifalacqua

Articles 2 minute read
Bullock: Trauma? What trauma?

Alfonso Cuarón’s ‘Gravity’ (2nd review)

One very, very lonely woman

Director Alfonso Cuarón has paired the most elemental plot I’ve ever seen with visuals you must experience in the theater to believe.
Alaina Johns

Alaina Johns

Articles 3 minute read
Bullock: Trauma? What trauma?

Alfonso Cuarón’s 'Gravity' (1st review)

Exploring outer space?
First, check your brains at the door

Like most Hollywood films about outer space, Alfonso Cuarón’s Gravity gives the universe its due as a boundless, forbidding zone of inhospitable horror. But it fails to suggest anything thoughtful about the raison d’être for exploring space.
AJ Sabatini

AJ Sabatini

Articles 5 minute read
McAdams, Gleeson: An unfair male advantage.

Richard Curtis’s 'About Time'

Four weddings and a waste of time

For a refreshing change, the recently concluded New York Film Festival offered more lighthearted cinema this year. But Richard Curtis’s About Time is downright scatterbrained.
Kayleigh Butera

Kayleigh Butera

Articles 3 minute read
O'Connor, Debbie Reynolds, Kelly: It happened all over again.

The magic of ‘Singin’ in the Rain’

Gene Kelly, Donald O’Connor, and the way we were

For one night, Singing’ in the Rain transformed my ordinary childhood into something wonderful. It’s still performing the same function for my adulthood.

Virginia Alpaugh

Articles 5 minute read
Gable, Leigh: Where are their aging parents?

Why ‘Gone With the Wind’ still works for me

My soul sister, Scarlett O'Hara

What I crave, and still get, from Gone With the Wind, is escape— the sort that often seems to elude me at age 58, when my critical facilities often trump my pleasure centers.
Ilene Raymond Rush

Ilene Raymond Rush

Articles 3 minute read