autobiography
If “Still: A Michael J. Fox Movie” shows us anything, it’s the extinguishable spirit that has kept Michael J. Fox going for decades.
Edited from decades of footage that were self-shot by Kilmer himself, Val is an extraordinary piece of filmmaking.
In Reality might not fully pass The Bechdel Test, but it’s a fun exploration of dating life and Ann Lupo’s filmmaking skills. Tuesday Blue reviews.
We the Animals is an undeniably moving film, but one whose emotional power is curbed by its similarity to other notable US indies of recent years, failing to rise out of the shadows.
Hard to comprehend, The Icarus Line Must Die has a strange dream-like atmosphere that seemingly evades definition.
Many audiences will likely shy away from the graphic depiction of abuse within director Jennifer Fox’s autobiographical film The Tale, but the film’s frankness is often its greatest asset.
I Am Heath Ledger is a deeply intimate look at the late actor, but fails to ask important questions about the man behind the mask.
As one of his final curtain calls, Limelight is a sterling reminder of Charlie Chaplin’s contributions to culture and the art of cinema.
The next in our Sculptures in Time series about Andrei Tarkovsky’s films is The Mirror, a film very autobiographical and surreal in nature.
A Tale of Love and Darkness is a sincere and emotionally impactful viewing experience; a great directorial debut from Natalie Portman.