Cinema

Comedy Icon Gets Well-Deserved Bio with ‘Love, Gilda’

by Greg Carlson | .(JavaScript must be enabled to view this email address) | October 3rd, 2018

“Love, Gilda,” Lisa D’Apolito’s biography of founding “Saturday Night Live” member Gilda Radner, treats comedy fans to an earnest assessment of the brilliant performer’s life and career, which was cut far too short at age 42 as a result of ovarian cancer. As one of the trailblazing Not Ready for Prime Time Players, Radner originated a healthy share of some of the show’s most memorable characters during her five seasons on SNL. Competing for space and time against the…

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Deadly Clicks in Levinson’s “Assassination Nation”

by Greg Carlson | .(JavaScript must be enabled to view this email address) | September 26th, 2018

Slipping and sliding through its blood-soaked climax, “Assassination Nation” attempts to reconcile the lurid and exploitative embrace of its milieu with an in-your-face polemic on the modern hellscape of rape culture and toxic masculinity. As channeled through the hypersexualized noise of social media (where everyone can be a “star” or cultivate a personal “brand”) as well as the private-until-they’re-not exchanges of person-to-person text messages, writer-director Sam…

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Sevigny Takes Up the Axe in “Lizzie”

by Greg Carlson | .(JavaScript must be enabled to view this email address) | September 19th, 2018

Director Craig William Macneill speculates on the infamous legend surrounding Massachusetts murder suspect Lizzie Borden in “Lizzie,” a long-germinating labor of love for star Chloe Sevigny. Working from a screenplay by Bryce Kass, Macneill’s stylish direction will satisfy a good cross-section of true crime fans as well as admirers of Sevigny and Kristen Stewart, who plays live-in Irish housemaid Bridget Sullivan. The continuing cultural fascination with the gruesome deaths of…

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​Dinklage Is the Last Man Standing in ‘I Think We’re Alone Now’

by Greg Carlson | .(JavaScript must be enabled to view this email address) | September 12th, 2018

Filmmaker Reed Morano’s “I Think We’re Alone Now” doesn’t match the levels of heat surrounding the tireless veteran cinematographer’s other recent successes on “The Handmaid’s Tale.” Working from an original script by Mike Makowsky, Morano cannot be faulted for the film’s exquisite visual design, but the story -- another post-apocalyptic, last-person-on-earth dystopia winding up to some kind of bombshell -- stumbles following a riveting set-up.

Peter Dinklage is Del,…

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LGBT Film Festival Celebrates 10 Years

by HPR Contributor | .(JavaScript must be enabled to view this email address) | September 12th, 2018

by Ryan Janke
ryanjanke@hpr1.com

The lights are down and the energy is up at the Fargo Theatre this week as the Fargo-Moorhead LGBT Film Festival kicks off, celebrating its 10th anniversary in Fargo. Festival director Raymond Rea, a professor of film at the School of Media Arts & Design at Minnesota State University Moorhead, spearheaded the project shortly after arriving in the area in 2008.

Ten years after he curated the Queer Film Series at the university, Fargo-Moorhead LGBT Film…

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​Blindspotting: Oakland in Black and White

by Greg Carlson | .(JavaScript must be enabled to view this email address) | September 5th, 2018

With first-time feature director Carlos Lopez Estrada at the helm, friends/screenwriters/producers/stars Daveed Diggs and Rafael Casal collaborate on “Blindspotting,” one of the year’s most innovative and thought-provoking movies. Just as given to imaginative flights of fantasy as Boots Riley’s “Sorry to Bother You” -- another Sundance premiere examining the twined Romulus and Remus of race and Oakland, California -- “Blindspotting” skips Riley’s wild swerve into…

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​Art and Life in “Madeline’s Madeline”

by Greg Carlson | .(JavaScript must be enabled to view this email address) | August 29th, 2018

The borders of the real and imagined assume a prominent place in Josephine Decker’s “Madeline’s Madeline,” the new feature from the talented filmmaker of “Butter on the Latch” and “Thou Wast Mild and Lovely.” As a richly layered metanarrative that utilizes the vehicles of acting, performance, and improvisation as the means to explore a complex emotional triangle involving a troubled young woman, her mother, and her theater teacher, Decker’s movie is a visual and…

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​Lee’s Latest Must-See: BlacKkKlansman

by Greg Carlson | .(JavaScript must be enabled to view this email address) | August 22nd, 2018

Spike Lee’s stated desire to comment on current events through the colorful prism of a 1970s-set period piece reaps tremendous rewards in Cannes Grand Prix winner “BlacKkKlansman,” a startling and brilliant addition to the veteran filmmaker’s top tier. Loosely based on Ron Stallworth’s autobiographical memoir, Lee’s film dramatizes the utterly unbelievable story of the first African-American officer and detective on the force of the Colorado Springs Police Department.…

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​Eighth Grade: Burnham Makes Strong Feature Debut with Fisher

by Greg Carlson | .(JavaScript must be enabled to view this email address) | August 15th, 2018

Elsie Fisher’s Kayla Day is the lonely but indefatigable middle-school protagonist of first-time feature filmmaker Bo Burnham’s “Eighth Grade,” a winning addition to the pantheon of the adolescent cinematic bildungsroman. What details and nuances other performers might have brought to the role we wouldn’t dare to imagine, so perfect is Fisher’s take. She constructs a brilliant characterization utterly unselfconscious in its self-consciousness. There are millions like Kayla,…

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​Separated-at-Birth Brothers Meet in ‘Three Identical Strangers’

by Greg Carlson | .(JavaScript must be enabled to view this email address) | August 8th, 2018

Three Identical Strangers - Eddy Galland, David Kellman, and Bobby Shafran, separated at birth.

Tim Wardle’s documentary “Three Identical Strangers” shares the seemingly impossible tale of brothers Eddy Galland, David Kellman, and Bobby Shafran, separated-at-birth identical triplets who discovered one another as young adults in 1980. Recipient of the U.S. Documentary Special Jury Award for Storytelling shortly after its world premiere at the 2018 Sundance Film Festival, the movie draws on new interviews and a strong archive of visual material to paint a colorful but…

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