The taxi driver was mystified by the long queue waiting to go into Leeds Picturehouse cinema on a recent Sunday afternoon. He was clearly surprised when I explained that what turned out to be a capacity audience was there to see a documentary about the 1984-5 miners’ strike.
NEW YORK – The times we live in are often most clearly reflected in the mirror of art. Much has been written about post-communism in Russia and China.
Not all British period dramas are the same. They don’t all involve servants faithfully tendering to lovable members of the aristocracy. Many do, of course, especially given the commercial imperative of appealing to affluent Americans, most of whom like Britain’s history posh.
So the cryptic teasers posted on Twitter by Mark Frost and David Lynch have substance: Twin Peaks will be returning to television screens 25 years after its cancellation.
Henry Jaglom—the innovative filmmaker, director, and screenwriter—has remained independent of the so-called Hollywood studio system by ensuring that all his films, on the advice of Orson Welles, “Never need Hollywood.” In 1971, Jaglom persuaded Welles to appear in A Safe Place, and the t
Margin Call and Moneyball, two films from 2011 with money central to the narratives, focus the camera lens on love.
Have you become cynical about love? Do you think there’s nowhere to meet anyone anymore, that men are still boys, that women want commitment and children and big weddings—all promised on date three? Golly, why even bother?
Love may not be obvious to the critics in my picks from 2011, a great year for film, but it’s the key to “getting” what makes each of these flicks great.
This list is in alphabetical order because a number has no meaning when love is the answer.