Diane says: “Yes, your town’s dump may have a swap area, but to find an “open dump” SALVAGE’s director had to go outside North America. This doc explores thrift, sustainability, consumerism, and gleaning (Agnes Varda!). “Six hundred gleaners regularly visit
Chris says: “Herzog Meets Gorbachev should be a monumental summit, and although the director never downplays his admiration for his subject, the subject, for all he accomplished (and Herzog certainly makes the case for him as one of the most
Chris says: “What the heck is WIG? A look at the 2018 revival of drag-fest Wigstock after a 17-year hiatus? An oral history of this annual grassroots event from its punk, mid-80s Tompkins Square Park origins to its 90s, mainstream-courting
Chris says: “ECHO IN THE CANYON POWER RANKINGS: Tom Petty’s last interview and his infectious fandom for the subject at hand. Man, what a loss. Any vintage recording studio footage, esp. The Mamas and The Papas’ immense choral sound. Elderly
Chris says: “An unconventional biopic (mostly because it’s about someone you’ve never heard of), it features a trio of notable performances, one expected (Alia Shawkat, more impressive with each role she appears in) and one unexpected (musician Charlie Sexton is pretty
Chris says: “Another great performance from Timothée Chalamet (CALL ME BY YOUR NAME was definitely no fluke) and a good one from Steve Carell (despite him generally being better suited to comedic roles such as BATTLE OF THE SEXES). Along
Thom says: “Bart Layton was the director of note on the very good 2012 documentary feature THE IMPOSTER and he brings a lot of nice effects to this “true crime” drama, somewhat, but irresponsibly, played for chuckles at the thieves ineptitude.
Chris says: “Colette was such a fascinating figure for her time it would take a concerted effort to make a boring film about her. Typically, Keira Knighly is neither miscast nor an exceptional lead; she does what’s required of her,
Chris says: “Gilda Radner may not have been the most original or technically accomplished comedienne, but she was unquestionably one of the most likable–as the cliche goes, she lit up whatever room she entered. Lisa D’Apolito’s sympathetic documentary gets this
Chris says: “This was my favorite Hornby novel since High Fidelity (he’s at his best writing about music), but as film adaptations go, it’s no HIGH FIDELITY. It doesn’t fall flat, exactly—how it could it with such ideal casting as