Review: Mayor Pete

By Abe Friedtanzer

Politics have become so divisive these days that campaigns are often based more on what a candidate is not rather than what they are. It’s refreshing, therefore, to see a politician whose identity is integral to their desire to achieve a certain office. This documentary’s title indicates the informality and folksiness attributed to its protagonist, a man who may actually be one of the most put-together, presentable people in the political world today. That would be Pete Buttigieg, the extremely likeable and publicly gay mayor of South Bend, Indiana who made a run for the presidency in 2020…

Being gay is not the only aspect of who Pete is, but it is a big part of it and one that broke new ground when he shared the debate stage with other Democratic presidential candidates...

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Review: For all its artful presentation, "Spencer" is a misfire

by Nathaniel R

A woman driving alone stops at a diner along the road to ask directions. She’s lost which is as common a problem as it gets. In any usual circumstance this would go unnoticed by other patrons but this is not a usual circumstance and this woman is far from common, and no Commoner at that. The whole room stops to gawk at her. This clever gambit early in Spencer sets Princess Diana (Kristen Stewart) immediately apart from humanity. A elegant but sterile aerial shot from the gifted cinematographer Claire Mathon (Portrait of a Lady on Fire) futher isolates her when she reaches that destination. She’s just a tiny figure about to be swallowed up in an imposing estate (Sandringham House, to be exact).

While the opening scenes of Spencer are promising and mobile, and the craft of the filmmaking as rich as you’d expect from the Chilean master Pablo Larraín, Spencer stops abruptly in its tracks at the estate...

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NewFest: Two very different international lesbian romances

By Abe Friedtanzer

Part of the appeal of the programming at NewFest is that it spotlights multiple perspectives slightly outside mainstream society, suggesting a universality to the way in which so many feel like they’re not accepted by society. The grouping of these two films in one review has a little to do with their subject matter but much more to do with the fact that I happened to screen them back-to-back and found some unexpected connections and contrasts. Let’s look briefly at Bliss and Sweetheart…

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Review: Daniel Craig's last stand in "No Time To Die"

by Deborah Lipp

No Time To Die explicitly advertises itself as “the conclusion” of a series that began with Casino Royale (2006), so there’s no spoiler in talking about No Time to Die (2021) as the conclusion of Daniel Craig’s James Bond series. I will keep major spoilers out, but I will certainly talk about this film in a way that understands it in the context of the Bond franchise, and as a “conclusion” of sorts. Fair warning and all that.

As we have come to expect from the Bond films of the last twenty or so years, No Time to Die is lavishly produced, has an A-list cast, and is beautiful to look at. As a standalone film, it’s good, perhaps very good, but the whole point of No Time to Die is that it isn't a standalone film. As a “conclusion,” it makes you ask questions: About James Bond and his future, about Daniel Craig and his legacy, about what a Bond film ultimately is...

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Review: Jake Gyllenhaal's one-man show "The Guilty"

by Matt St Clair

Despite being a proponent of Bong Joon-ho's advice to overcome the "one-inch barrier" of subtitles, I confess that I never got around to seeing the popular Danish film The Guilty (2018) which became an Oscar finalist for Best International Feature in its year. As a result of this blind spot, none of my thoughts on the new English-language remake will pertain to how it measures up to the original. Instead, let's talk about what a tense one man show this is. 

Although Jake Gyllenhaal has actors surrounding him, both in-person and through vocal performances on the telephone, The Guilty is laser focused on his character, 911 dispatcher Joe Baylor. Joe is on the phone trying to save a woman named Emily (voiced by a skillfully elusive Riley Keough) who’s being kidnapped by her ex-husband...

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