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Women with swords: King Hu and the Art of Wuxia

Decades before women took center stage in the one-two punch of Ang Lee's Crouching Tiger, Hidden Dragon and Quentin Tarantino's Kill Bill , King Hu (1932-1997; the subject of a retrospective at the HFA) put swords in the hands of a soaring heroine in Come Drink with Me.
By BRETT MICHEL  |  March 12, 2013

Review: West of Memphis

West Memphis blues again
Amy Berg's documentary about the case illustrates countless failings of the American justice system.
By JAKE MULLIGAN  |  March 12, 2013

Underground cinema: The 12th Boston Turkish Film Festival

This year's Boston Turkish Film Festival includes works in which directors ponder the relationships between the secular and the religious, between men and women, and between destiny and identity.
By PETER KEOUGH  |  March 12, 2013

Review: The ABCs of Death

Judging from their contributions, some of the filmmakers behind this 26-part anthology find death less fearsome than the thought of a cute girl farting.
By PETER KEOUGH  |  March 12, 2013

Review: Like Someone In Love

A decent little movie, but hardly a major one, from Iran's master filmmaker Abbas Kiarostami, who, self-exiled, here shoots in Tokyo with an all-Japanese cast.
By GERALD PEARY  |  March 12, 2013

Review: A Glimpse Inside the Mind of Charles Swan III

In Roman Coppola's sophomoric second feature (his 2001 debut CQ was promising), Charlie Sheen shows restraint as the titular asshole, a dissolute ad designer and solipsistic whiner who's mooning over the loss of his latest love.
By PETER KEOUGH  |  March 12, 2013

Review: Emperor

Yes, Tommy Lee Jones plays the "supreme commander" of the US forces in this historical drama from Peter Webber ( Girl with a Pearl Earring ) that takes place after the Japanese surrender in World War II, and the Oscar winner puts in another towering performance.
By BRETT MICHEL  |  March 12, 2013

Review: Upside Down

Had Ed Wood Jr. directed Fritz Lang's Metropolis , he couldn't have achieved the earnest dopiness of Juan Solanas's sci-fi allegory — nor the striking images.
By PETER KEOUGH  |  March 14, 2013

Review: Lore

Life during wartime
Although set in Germany in the last days of World War II, Australian director Cate Shortland's harsh and poetic survival tale recalls the dreamlike allegory of Nicholas Roeg's Outback-set Walkabout (1971).
By PETER KEOUGH  |  March 04, 2013

Review: NO

The TV ads that overthrew a regime
Many say that political rhetoric in the mainstream media is dead. NO purports to perform the autopsy.
By JAKE MULLIGAN  |  March 04, 2013

Review: Don't Stop Believin': Everyman's Journey

There's no sex or drugs, just a lot of professionalism.
By BRETT MILANO  |  March 04, 2013

Review: 21 And Over

As one of the Asian stereotypes in this hit-or-(mostly)-miss comedy from writer/directors Jon Lucas and Scott Moore says, "Fuck kids these days. Every one of you is drunk, stupid, and fat."
By BRETT MICHEL  |  March 05, 2013

Review: Greedy Lying Bastards

Not just another environmental movie about how we're killing our planet and ourselves, Craig Scott Rosebraugh's documentary focuses on the political manipulation of the debate, both nationally and around the world.
By MONICA CASTILLO  |  March 06, 2013

Review: Jack The Giant Slayer

Stop me if you've heard this one before: a farm boy dreams of adventure, finds it, and falls in love with a princess along the way. (For everyone's sake, let's just hope she's not his sister.)
By BRETT MICHEL  |  March 06, 2013

Review: Far From Afghanistan

A contemporary mirror of 1967's multidirector lefty-agitprop masterpiece Far from Vietnam , this omnibus epic plumbs the American quagmire in Central Asia from the aesthetic viewpoints of five western filmmakers assembled by John Gianvito (who also contributes a segment), plus a cadre of Afghan locals called Afghan Voices.
By MICHAEL ATKINSON  |  March 06, 2013

Review: The Last Exorcism Part II

Now that the shaky-cam nonsense has been left behind, what remains are textureless, overlit, sub-TV-quality visuals that only accentuate the fact that our protagonist, Nell Sweetzer (Ashley Bell), is at least a decade older than the 17-year-old exorcised sect-escapee that she's playing.
By BRETT MICHEL  |  March 06, 2013

Review: Yossi

A decade after Yossi & Jagger , filmmaker Eytan Fox returns to see how his character is getting on.
By JAKE MULLIGAN  |  March 06, 2013

Review: Oz the Great and Powerful

Sam Raimi nearly overcomes the unenviable burden of revisiting a classic by delivering dazzling footage, but not so the performances.
By JORDAN RIEFE  |  March 07, 2013

Review: Dead Man Down

Following the stunning success of The Girl with the Dragon Tattoo , Danish filmmaker Niels Arden Oplev makes his English-language bow with this bleak film noir that values character over tension.
By JORDAN RIEFE  |  March 08, 2013

Scientific method: One-on-one with Alex Karpovsky

Not long ago, Newton native Alex Karpovsky thought his filmmaking career was finished.
By PETER KEOUGH  |  February 26, 2013

Review: Dark Skies

"Two possibilities exist: either we are alone in the universe or we are not. Both are equally terrifying."
By BRETT MICHEL  |  February 26, 2013

Review: Habibi

As seen in Susan Youssef's wrenching Habibi , it's not easy being a poet in Palestine.
By PETER KEOUGH  |  February 26, 2013

Review: Let My People Go!

First-time French director Mikael Buch makes it easy to categorize his characters in this sometimes funny, often strident farce.
By PETER KEOUGH  |  February 26, 2013

Review: The Gatekeepers

Great cinema journalism, The Gatekeepers was the National Society of Film Critics' winner for Best Documentary of 2012.
By GERALD PEARY  |  February 26, 2013

Review: Stoker

Revenge play
Park Chan-wook takes his time terrifying an audience.
By PETER KEOUGH  |  March 01, 2013

Review: Rubberneck

Lab Rat
Maybe because he's one himself, Alex Karpovsky has a knack for making movies about obsessives.
By PETER KEOUGH  |  February 26, 2013

Review: Phantom

Simultaneously bizarre and banal, director Todd Robinson's military procedural seems designed to please no one.
By JAKE MULLIGAN  |  February 27, 2013

Review: Snitch

Dwayne "The Rock" Johnson idles through this Ric Roman Waugh–directed action thriller as John Matthews, a construction company owner who infiltrates a cartel to persuade the DEA to set free his wrongly imprisoned son.
By SCOTT SUGARMAN  |  February 27, 2013

Review: The Little Fugitive (1953)

It's the 60th anniversary of this pioneering American independent feature, which greatly influenced both cinema vérité documentarians and the French New Wave.
By GERALD PEARY  |  February 27, 2013

Review: A Place At The Table

Directors Kristi Jacobson and Lori Silverbush cover a lot of ground in their heartbreaking documentary examining the hunger experienced by nearly 50 million Americans, but at less than 90 minutes, it feels a bit overstuffed.
By BRETT MICHEL  |  February 27, 2013

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