The cinematic debut for the long-running animated series about a misfit family of restaurant owners brings all the quirks and quips of the original Bob’s Burgers.
Prison is a massive, racist source of violence and harm. A film about incarcerated people, especially one purporting to advocate for them, needs to engage with that fact.
Being the son of the great Iranian dissident filmmaker Jafar Panahi and the protege of the late master director Abbas Kiarostami can’t help but cast a shadow, but if this digressive and slyly weighty debut is any indication, Panah Panahi will have no trouble making his own voice heard. A family of four drives through […]
Unfortunately, what Juergens presents onscreen comes across more like a loose scrapbook or vlog than a film.
The Gene Siskel Film Center’s monthlong celebration of Chicago native Haskell Wexler’s centennial concludes May 31.
Little of consequence happens in Downton Abbey: A New Era, but that’s sort of the point.
“What we know for a fact is that making abortion illegal does not stop women from seeking abortions, it just keeps them from getting safe abortions.”
Anaïs in Love is as magnetic as its protagonist.
The no-holds-barred approach to the [abortion] procedure and its aftermath is the kind of interpretation of real life that great cinema does best.
No amount of cowboy bravado could pump life into director Naveen Chathappuram’s debut film.
In the context of film, silence helps us appreciate the beauty and gift that is our sense of sight.
The film is the thing, the guiding force behind what they do.
Philip Glass’s soundtrack for piano, pipe organ, and chorus mirrors the repetition in the summoning spell.
Those once-pestering words on the bottom of television screens I now see as an opportunity to refresh and expand my communication.
This film is not for the fragile heart.