With Donald Trump pulling off a staggering electoral upset of Hillary Clinton for the country’s top post, “Miss Sloane” couldn’t be more timely. It’s helped by a tart script by first-time scribe Jonathan Perera that gives the dynamic Jessica Chastain plenty of scenery to chew.
Local faith leaders and representatives from advocacy organizations and nonprofits will gather Saturday with Rep. Katherine Clark for a community meeting on “Moving Forward: Promoting Safety & Tolerance in Our Communities.”
“Moana” is Disney once again branching out, reaching past its own barriers and trying to create something singular that will stand out and become timeless.
French filmmakers and naturalists Jacques Perrin and Jacques Cluzaud, who wowed audiences with their “how did they get those shots” documentaries “Winged Migration” (2001) and “Oceans” (2009), are back at it – and impressively so – with “Seasons.”
In just her second feature film, “The Edge of Seventeen,” director and writer Kelly Fremon Craig has made one of the greatest coming-of-age films of the past 20 years. We asked her how she did it.
As someone with firsthand experience: Being a teenage girl is hard. Filmmakers have tried to capture this truth with varying success, but few have achieved the authenticity of filmmaker Kelly Fremon Craig and her confident and emotive “The Edge of Seventeen.”
We on the coasts scratch our head why Donald Trump won the presidency, slow to realize the cold sting of disenfranchisement as a powerful motivator. Here are seven films that delve into the psyche of the dislocated white male.
“Loving” doesn’t come out grandstanding about racism and hate, despite telling of the injustice against an interracial couple who wedded in 1953, but instead moves in small wispy strokes around casting that is nothing short of inspired.
Veterans and up to three guests have access to all Veterans Day shows at Central Square’s ImprovBoston comedy club for free.
War drama “Hacksaw Ridge” will satisfy Andrew Garfield fans, Mel Gibson supporters or war movie connoisseurs but little more, as a conflicted Gibson, returning to directing, paints a picture of nonviolence in gleeful slow-motion sequences of violence and bloodiness.