Too bad there’s one last scene set in Boston. We were hoping he wouldn’t come back.
Film
HEY ‘PAH
ACK-FEST: A CHEAT SHEET TO THE UPCOMING NANTUCKET FILM FESTIVAL
DOPE INTERVIEW: “DOPE” STAR SHAMEIK MOORE ON SUDDEN STARDOM AND THE SWAG GAME AT SUNDANCE
When we asked if he was concerned he’d been seen as an actor-first, musician-second, he (no hesitation) compared himself to Drake.
CLASS TRIP: ON “HEAVEN KNOWS WHAT” AND “SULLIVAN’S TRAVELS”
Sturges’ flights of verbal fancy are as close as the American cinema comes to Shakespeare, and his turns of phrase are as sharp as a shuriken.
INTERVIEW: ANDREW BUJALSKI AND THE UN-COMMERCIAL-NESS OF ‘RESULTS’
"All my films ultimately become place-specific. Funny Ha Ha didn’t have to be Boston—but once we were shooting it there, it became a very Boston movie."
OBNOXIOUS CROWE-ING: ALOHA IS A LONG WAYS OFF, IN MORE WAYS THAN ONE
Most of the film is artlessly sunny and overlit to excess, looking like a cheap painting you might find for sale at a beachfront souvenir shop.
ALT-MAN: THE COUNTERCULTURE FILMMAKING OF ROBERT ALTMAN AT HFA
Perhaps the premiere American counterculture filmmaker.
LIBERATING RESULTS: VISUALLY REPRESENTING HOW PEOPLE MEET
Bujalski has replaced the hallmarks of the genre with the verbal awkwardness and spiritual messiness of real life
THE BEAUTIFUL DECAY OF ‘FURY ROAD’
The cry of 'Who killed the world?' is shouted loudly by the film’s six heroines. The answer goes unacknowledged, but it’s obvious—men did.