If you’re up on your festival buzz, you’ve likely heard about the swarm of ambulances called into the Toronto International Film Festival to extract viewers of the film “Raw” because they had passed out from the gore.
Professor Charles Xavier and a beaten-down Wolverine find themselves back together in a dystopian futurescape a little too much like today, and without a cavalcade of other mutants and two-dimensional bad guys to weigh them down.
A changing of the guard in the local music biz will be held March 5 at Pagu, with legendary jazz booking agent Fred Taylor on hand, as well as a sentimental farewell to the Western Front reggae club.
Something’s clearly not right out in the suburbs where Chris has agreed reluctantly to meet the parents of his girlfriend, who don’t know he’s black – but loved Obama. Given the results of the election, the daggers the film throws couldn’t be any more on point.
There’s a quirky poetic flow to “Paterson” as in nearly every Jim Jarmusch film, seeping outward in languorous yet artful movements, and while “Paterson” (starring Adam Driver) is tightly coddled, it’s also one of the director’s more earthy and accessible efforts.
January is documentary month at the Brattle – not officially, but it sure feels like it with a weeklong run of “Tower” and a three-night presentation of the Oscar shortlist candidate for Best Documentary, “O.J.: Made in America.”
For the first time, the Brattle Theatre in Cambridge joins the Regent Theatre in Arlington and Studio Cinema in Belmont for screenings as part of the annual Family Film Festival put on by Belmont World Film and the toy store Henry Bear’s Park.
One of the best films of 2016 happens to be a sentimental crowdpleaser that, for all its potential schmaltz and didactic pitfalls, maintains an incredibly poignant balance especially when it comes to matters of race – and there’s plenty of them.
The stars’ intertwined journey of desire and hope is genuine and universal, and Damien Chazelle’s slick eruptions into song, with two likable stars who sing and dance themselves, underscore that sentiment smoothly.
“Rogue One” stands outside the other “Star Wars” films, but is better than many of them. Even if the franchise feels like it needs a makeover to get beyond the style shackles of the ’70s and the ’80s, this is an enthralling go, with pleasing pops of surprise.