Alex Ross Perry’s punk-rock elegy isn’t just a bittersweet portrait of rock stardom, it’s a beautiful model of the long, hard road to sobriety.
Martin Scorsese shone a light on The Rolling Stones for this rollicking concert film, two cultural titans at the top of their game.
Martin Scorsese’s hip, vibrant concert film The Last Waltz captures the ephemerality of The Band and its influence on the rock ‘n roll stage.
(This dispatch is part of our coverage of the 2019 Chicago International Film Festival.) Welp, CIFF keeps chugging […]
Friday’s CIFF Dispatch talks up Harlem doc The Apollo, dark fairy tale Adoration, Guatemalan drama Our Mothers, and Minhal Baig’s coming-of-age story Hala.
The pop-rock legend is given long overdue recognition in an uneven but fascinating documentary.
Like its subject, Judy has its good nights and bad nights, but it’s always saved by a powerhouse Zellweger performance.
A punk drummer loses his hearing in Darius Marder’s intense, layered personal drama, with an intense lead performance by Ahmed.
Michael Winterbottom’s loving tribute to the Manchester music scene still maintains its quirky-cool vibe.
In honor of Where’d You Go, Bernadette?, we take a closer look at the prolific indie pioneer.
The David Crosby-centric doc proves most effective when it embraces the rock-infused messiness of the man’s life and career.
Stanley Kubrick’s mercurial erotic drama gets some much-needed context thanks to one of Frank Ocean’s most infamous mixtapes.
The one and only Leonard Cohen turns flat in Nick Broomfield’s latest, and it brings down his better half as a result.
Jessie Buckley rocks the stage in a country-fied music drama that treads too-familiar territory outside its Scottish stage.
Richard Curtis envisions a world without The Beatles, then promptly ignores it in favor of yet another treacly love story.
Ron Howard returns to accessible but fluffy music docs with this hagiography of the iconic opera tenor.
On this week’s podcast, we speak with composer Kurt Farquhar, “the musical voice of the BET,” about his work on American Soul and Black Lightning.
We take a look back at Cameron Crowe’s 30-year-old romantic comedy, a film that’s much more than John Cusack and a boombox.