As befits a festival born from a star, the 2013 Tribeca Film Festival ends by celebrating one of co-founder Robert De Niro’s greatest performances, as the star-struck nerd Rupert Pupkin in “The King of Comedy,” the underrated 1983 Martin Scorsese film that might finally, after 30 years, be getting the respect it deserves. Still, for my money, the big stars this year appeared in a trio of archival portrait docs. All three were artists shaped by and to some degree shaping the social upheavals of the 1960s; all three successfully melded the personal with the political. Continue Reading
MOVIE JOURNAL: J. Hoberman on movies and movie-related things
Ransack the Tribeca Film Festival and ye shall find, in this case, three relatively unheralded items that are well worth seeing. Continue Reading
Has the Tribeca Film Festival improved? That’s what everyone says and, on the basis of the first weekend, the 2013 edition would certainly seem to have less flash and more substance. Continue Reading
Not that it needs a peg but, newly remastered by Criterion, Laurence Olivier’s 1956 version of William Shakespeare’s “Richard III” is unexpectedly topical thanks to the confirmation that a skeleton discovered beneath a parking lot in Leicester, England, was indeed that of a much reviled 15th century British monarch.
Restored and back in distribution thanks to the tireless folks at Milestone Films, the 1967 documentary “Portrait of Jason” is, without a doubt, Shirley Clarke’s most radical, as well as her most personal, film.
“Un Flic”, the great Jean-Pierre Melville’s 1972 swan song, opens with an invented quote and a masterful bank heist in an off-season North Sea resort—a clammy blue-gray composition in wind, fog and rain. It’s the big chill visualized, a perfect plan that results in a bungled shoot out.
Fiction framed as documentary, “This Ain’t California,” Marten Persiel’s prize-winning hybrid — opening today at the Maysles Cinema in Harlem — “prints the legend” in telling the tale of Denis Paracek, a fabricated character in the real world of East German Rollbrettfahrer (skateboarders). Continue Reading
There’s no American director who inspires greater devotion than Terrence Malick, as I discovered when I wrote a less than favorable review of “The New World” (“all is diffuse, gauzy, insubstantial, underwhelming”). There is also very little middle ground when it comes to his achievements. Continue Reading