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    ‘Gustav Stickley: American Craftsman’ Review: Artisanal Admiration

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘Gustav Stickley: American Craftsman’ Review: Artisanal AdmirationThis documentary offers a dry, rote introduction to a designer who became a key figure in the Arts and Crafts movement.The designer Gustav Stickley, center, is the subject of the documentary “Gustav Stickley: American Craftsman.”Credit…First Run FeaturesMarch 4, 2021, 7:00 a.m. ETThe documentary “Gustav Stickley: American Craftsman” offers an introduction to a designer (1858-1942) who became a crucial figure in the American Arts and Crafts movement. But the movie itself, directed by Herb Stratford, is so dull and unimaginative in its presentation — talking heads, an overused score that might as well have been downloaded from a free database — that it makes for an unfortunate match of subject matter and form.This hourlong film is pitched at a level of detail that is admirable in theory but ill-suited to dabblers — or to the medium. The Stickley biographer David Cathers, one of many people charged with delivering dry exegesis (he also shares a writing credit on the film), speaks in a calm, unvaried tone as he discusses how “Stickley moved his family from Walnut Avenue in Syracuse to Columbus Avenue in Syracuse” or recounts Stickley’s eccentric late-career quest to develop a perfect furniture finish “that manufacturers could apply efficiently and at low cost.” He might as well be reading from his book.[embedded content]
    It is marginally livelier to hear from the Stickley relative Richard Wiles, who relates being told that a dresser whose drawers he used to smash shut ended up in a museum. The documentary does its baseline job of showcasing what made Stickley an innovator. You leave with a desire to visit The Stickley Museum at Craftsman Farms, his New Jersey estate, as well as the Craftsman Building in New York. And by the end, a viewer could probably identify Stickley furniture with at least 50-50 accuracy.Gustav Stickley: American CraftsmanNot rated. Running time: 1 hour 7 minutes. Watch through virtual cinemas.AdvertisementContinue reading the main story More

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    ‘The Walrus and the Whistleblower’ Review: The Fight to Free a Friend

    AdvertisementContinue reading the main storySupported byContinue reading the main story‘The Walrus and the Whistleblower’ Review: The Fight to Free a FriendAn animal trainer turned activist strives to end sea mammal captivity in this documentary that could use a sharper frame on its subject.Phil Demers, one of the subjects of “The Walrus and the Whistleblower.”Credit…Tom CometMarch 4, 2021, 7:00 a.m. ETThe Walrus and the WhistleblowerDirected by Nathalie BibeauDocumentaryNot Rated1h 28mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.In Marineland, the sprawling aquatic park in Niagara Falls, Ontario, lives a walrus named Smooshi. Concerns for the sea mammal’s well-being form the core of the documentary “The Walrus and the Whistleblower,” which follows the former trainer Phil Demers’s fight to free Smooshi from her captivity.Demers believes that, while he was working at Marineland, Smooshi imprinted on him, or deemed him her guardian. The director Nathalie Bibeau pairs Demers’s account with home video footage of the pair playing during off-hours at the park. At the time, a local news story about their bond spread nationally, even appearing on “Jimmy Kimmel Live.” But in 2012, after witnessing the animals suffer chemical burns, Demers quit his job and vowed to expose the park’s abuse.[embedded content]As Bibeau examines the movement born out of Demers’s allegations, she hews closely to her subject. The film tracks a hefty lawsuit Marineland files against Demers, and a bill he supports that would ban the captivity of whales and dolphins in Canada. The legal and legislative battles supply narrative through-lines, but their progression — or rather, their stagnation — proves dull padding for the story.More intriguing is Demers’s yearning for the walrus he is barred from seeing, a fixation that scans as alternately authentic and performed. Frustratingly, the documentary declines to probe Demers’s evolving relationship to his activism and newfound fame — particularly once he assumes a grandiose Twitter persona and scores repeat appearances on Joe Rogan’s podcast.“I’m Smoochi’s mom,” Demers declares at one point. “What’s more natural than reuniting a baby with its mother?” With sharper framing, this line might suggest irony, given the unusual nature of this cross-species relationship. Offered at face value, all that registers is bombast.The Walrus and the WhistleblowerNot rated. Running time: 1 hour 28 minutes. Watch on Discovery+.AdvertisementContinue reading the main story More

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    ‘Stray’ Review: Nothing but a Hound Dog

    AdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s pick‘Stray’ Review: Nothing but a Hound DogElizabeth Lo’s thoughtful documentary uses the stray dogs of Istanbul to comment on the human condition.One of the wandering subjects of Elizabeth Lo’s documentary, “Stray.”Credit…Magnolia PicturesMarch 4, 2021, 7:00 a.m. ETZeytin has a strong head, hazel eyes and a quizzical expression. Long-legged and confident, she trots beside busy highways, unbothered by crowds or the director Elizabeth Lo’s trailing camera. Why should she be? She’s a star.As simple as its title and as complex as the city it briefly illuminates, “Stray,” Lo’s sharp-eyed documentary about the street dogs of Istanbul, unspools without narration or anything like a plot. Instead, the restless rhythms of the mutts’ uncertain existence lend a poetic randomness to a movie that’s more contemplative than cute. On-screen quotations from Greek philosophy punctuate its brief 72 minutes, and snatches of overheard conversations swirl and fade as Zeytin and her canine pals — part of this world, yet aloof from it — pass by.[embedded content]Once exterminated en masse and now protected by law from euthanization, the strays interact with a citizenry whose tolerance for their fighting and garbage-raiding is sometimes surprising. The residents’ treatment of human outcasts, though, is rather less welcoming, as we see when tagging along with a pitiful group of Syrian refugees, glue-sniffing youngsters who find with the dogs a comfort they’re otherwise denied.Organically and entirely without judgment, “Stray,” filmed from 2017-19, builds a subtle, cross-species commentary that’s more than a little melancholy. While never directly political, Lo’s camera is there when the animals encounter a women’s march for equality and, later, when the refugees connect with boatmen who share their own migrant past. The filmmaker’s eyes may rarely leave the dogs, but what she’s really looking at is us.StrayNot rated. Running time: 1 hour 12 minutes. In theaters and on virtual cinemas. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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    ‘My Salinger Year’ Review: Ghost Writers

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘My Salinger Year’ Review: Ghost WritersMargaret Qualley stars in this colorless adaptation of Joanna Rakoff’s memoir of her experiences as a young writer in New York City.Margaret Qualley in “My Salinger Year.”Credit…Philippe Bosse/IFC FilmsMarch 4, 2021, 7:00 a.m. ETMy Salinger YearDirected by Philippe FalardeauDramaR1h 41mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.As “My Salinger Year” proves, making a successful movie about introspection is more than a little challenging. Muted almost to the point of effacement, this limp adaptation of Joanna Rakoff’s 2014 memoir, written and directed by Philip Falardeau, only affirms that what might work on the page doesn’t always pop on the screen.Indeed, the story of Joanna (Margaret Qualley), a bookish former grad student finding her feet in New York City in the 1990s, is so drearily uneventful that you begin to wonder why it was ever deemed filmable. A sprouting poet, Joanna takes a job as assistant to a rigidly old-fashioned literary agent (Sigourney Weaver) whose client list favors authors as creaky as the typewriters and Dictaphones that power her office.[embedded content]Assigned to deal with the effusive fan mail of the agency’s most famous client, the reclusive J.D. Salinger, Joanna, vexed by the dusty form letter she’s been instructed to use, is moved to flout the rules and personalize her responses. Imagining the fans speaking directly to her, she spends most days inside her head, narrating her thoughts while the plot trudges forward. In the evenings, she returns to a low-rent apartment in ungentrified Brooklyn where her narcissistic boyfriend (Douglas Booth) works on his novel and disparages her job.Unable to draw a connection between Joanna’s aimless personal life and her epistolary fancies, “My Salinger Year” never convinces us that she can write, or even that she particularly cares to. Wide-eyed and ingenuous, the character is a blank slate.“I wanted to be extraordinary,” she tells us at the beginning of a movie that persuades us of nothing except her extraordinary immaturity.My Salinger YearRated R for sexual references as bland as the movie around them. Running time: 1 hour 41 minutes. In theaters and available to rent or buy on Google Play, Vudu and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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    ‘Adam’ Review: Beginning of a Beautiful Friendship

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Adam’ Review: Beginning of a Beautiful FriendshipA widow welcomes a pregnant stranger into her home in this sentimental story mostly told unsentimentally.Lubna Azabal and Nisrin Erradi in “Adam.”Credit…Strand ReleasingMarch 4, 2021, 7:00 a.m. ETAdamDirected by Maryam TouzaniDramaNot Rated1h 38mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.In Maryam Touzani’s “Adam,” certain stylistic choices — a muted palette, the absence of a melodramatic score, hand-held camerawork — help temper sentimentality with verisimilitude. The movie tells a story of kindness given and returned. It opens with Samia (Nisrin Erradi) seeking a job as a hairdresser, and then as a maid, or really as anything. As a pregnant woman alone in Casablanca, she needs work and a place to stay — and encounters mainly indifference and judgment.But after Abla (Lubna Azabal), a widow who initially refuses her, watches Samia sleep on the street outside, she takes her in on a temporary basis. Abla emphasizes that she doesn’t want problems from gossipy neighbors. But Abla’s young daughter, Warda (Douae Belkhaouda), likes Samia a lot, and Samia begins making a pastry that becomes a hit at Abla’s bakery.[embedded content]Rather than repay Abla with quiet gratitude, Samia forces her to listen a cassette tape of the singer Warda, for whom Abla’s daughter is named. Abla hasn’t listened to the music since her husband died. Samia also pushes Abla to give a would-be suitor (Aziz Hattab) a chance.This symmetry — how each needs the other to fulfill a need — flirts with being overly tidy. But Touzani has said that “Adam” was inspired by a real stranger her parents welcomed into their home, and there’s a fine sense of ambiguity — of what-ifs — in the closing moments. The ending hedges against the screenplay’s dramaturgical shorthand.AdamNot rated. In Arabic, with subtitles. Running time: 1 hour 38 minutes. In virtual cinemas and available to rent or buy on Amazon, Apple TV and other streaming platforms and pay TV operators.AdvertisementContinue reading the main story More

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    Michael B. Jordan Goes on Vendetta in First 'Without Remorse' Trailer

    [embedded content]

    The ‘Black Panther’ star plays a highly-effective soldier who takes matter into his own hands after his pregnant wife was killed in an attack by Russian soldiers.

    Mar 4, 2021
    AceShowbiz – Michael B. Jordan goes full action movie hero in the first official trailer of “Without Remorse”. Set in Tom Clancy’s Jack Ryan universe, the original movie from Amazon Studios follows the “Creed” star’s John Kelly (a.k.a. John Clark), a highly-effective soldier who goes on a vendetta after his wife was killed in an attack that also targeted him.
    While he survived the assassination attempt, Jordan’s character couldn’t help holding grudge. “They took everything from me,” he says in the trailer. “I’m gonna make it right.” Set by the rage, John seeks to avenge the death of his loved one only to find himself inside a larger conspiracy.
    According to the official synopsis, “Without Remorse” tells the origin story of “John Kelly (a.k.a. John Clark), a U.S. Navy SEAL, who uncovers an international conspiracy while seeking justice for the murder of his pregnant wife by Russian soldiers. When Kelly joins forces with fellow SEAL Karen Greer and shadowy CIA agent Robert Ritter, the mission unwittingly exposes a covert plot that threatens to engulf the U.S. and Russia in an all-out war.”

      See also…

    The explosive action thriller film is directed by Stefano Sollima (“Sicario: Day of the Soldado”) with the script written by Taylor Sheridan and Will Staples. It is based on the 1993 novel of the same name by Tom Clancy and a spin-off of the “Jack Ryan” film series.
    Brett Gelman, Jodie Turner-Smith, Jamie Bell, Jacob Scipio, Jack Kesy, Todd Lasance, Luke Mitchell and Cam Gigandet join the cast of the movie, which is set to launch globally on April 30 on Amazon Prime Video. Akiva Goldsman, Josh Appelbaum, Andre Nemec and Jordan serve as producers.
    John Kelly is Clancy’s second most famous creation, after Jack Ryan. The character previously has been played by Willem Dafoe in 1994’s “Clear and Present Danger” and Liev Schreiber in 2002’s “The Sum of All Fears”.

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    'Soul' Leads Nominations at 2021 Annie Awards

    Walt Disney Pictures

    The Pixar animated movie, which features the star-studded voice cast members like Jamie Foxx and Tina Fey, dominates this year’s Annie nominations with 10 nods.

    Mar 4, 2021
    AceShowbiz – “Soul” and “Wolfwalkers” will be the films to beat at the 48th annual Annie Awards after landing 10 nominations apiece.
    The Disney/Pixar movie about a music teacher with jazz ambitions, which features the voices of Jamie Foxx and Tina Fey, is up for the coveted Best Feature, alongside “Onward”, “The Croods: A New Age”, “The Willoughbys”, and “Trolls World Tour” while “Wolfwalkers”, based in 1650s Ireland, will compete for Best Indie Feature.
    Also included in that category are “A Shaun the Sheep Movie: Farmageddon”, “Calamity Jane”, “Ride Your Wave”, and “On-Gaku: Our Sound”.
    Together, the top two nominees will also battle it out for Best Direction – Feature, Best Music – Feature, Best Production Design – Feature, Best Storyboarding – Feature, and Best Writing – Feature, among other honours.
    Meanwhile, Tom Holland (“Onward”), Nicolas Cage (“The Croods: A New Age”), and Eva Whittaker (“Wolfwalkers”) are going face-to-face for Best Voice Acting – Feature, and Ashley Tisdale has scored a nod in the TV/Media equivalent for “Phineas and Ferb the Movie”.
    The winners will be unveiled at a virtual ceremony on 16 April (21).
    The list of selected nominees:
    Best Feature:

    Best Indie Feature
    “A Shaun the Sheep Movie: Farmageddon”
    “Calamity Jane”
    “On-Gaku: Our Sound”
    “Ride Your Wave”
    “Wolfwalkers”

    Best Special Production
    “Baba Yaga”
    “Libresse/Bodyform – #WombStories”
    “Nixie & Nimbo”
    “Shooom’s Odyssey”
    “The Snail and the Whale”

    Best Direction – Feature
    “Calamity Jane” – Remi Chaye
    “Over the Moon” – Glen Keane
    “Ride Your Wave” – Masaaki Yuasa
    “Soul” – Pete Docter, Kemp Powers
    “Wolfwalkers” – Tomm Moore, Ross Stewart

    Best Music – Feature
    “Onward” – Mychael Danna, Jeff Danna
    “Over the Moon” – Steven Price, Christopher Curtis, Marjorie Duffield, Helen Park
    “Soul” – Trent Reznor, Atticus Ross, Jon Batiste
    “The Willoughbys” – Mark Mothersbaugh, Alessia Cara, Jon Levine, Colton Fisher
    “Wolfwalkers” – Bruno Coulais, Kila

      See also…

    Best FX for Feature

    Best Character Animation – Feature

    Best Character Animation – Live Action

    Best Character Design – Feature

    Best Production Design – Feature

    Best Storyboarding – Feature

    Best Voice Acting – Feature

    Best Writing – Feature

    Best Editorial – Feature

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    Children’s Film Festival Pushes Boundaries, Mixing Somber and Sweet

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyChildren’s Film Festival Pushes Boundaries, Mixing Somber and SweetFrom a feature just for teenagers to short movies for toddlers, this groundbreaking New York event will stream for the first time nationwide.The documentary “Curtain Up!” followed the production of “Frozen KIDS” at Public School 124 in Chinatown. This year, the festival has 14 features, seven programs of short films and more than a dozen livestreamed events.Credit… Hui Tong and Kelly NgMarch 3, 2021, 2:28 p.m. ETThe New York International Children’s Film Festival faced unusual challenges in developing a cinematic celebration during a pandemic. Now the festival, which will present its first all-streaming version from Friday through March 14, is offering its audience some unusual challenges, too.In addition to unblinking views of young people grappling with fractured families, bullying and puberty, the festival is showing what may be its most serious and mature feature yet: “Beans,” a fictionalized autobiography by the Canadian filmmaker Tracey Deer. The action unfolds during what is now known as the Oka crisis, a conflict in 1990 between the Mohawk people and the Canadian authorities over land rights.The central character, a 12-year-old Mohawk girl nicknamed Beans, played by Kiawentiio Tarbell, begins a personal rebellion that parallels her community’s uprising. Recommended for viewers 14 and older, the film includes obscene language, violence and a harrowing scene in which an older boy tries to pressure Beans into performing oral sex. It’s hardly what you expect at a children’s festival, but the organizers, who this year are delivering 14 features, seven programs of short films and more than a dozen livestreamed events — all available for the first time to families across the country — found the movie too accomplished and relevant to put aside.Kiawentiio Tarbell in “Beans,” a fictionalized autobiography by the Canadian filmmaker Tracey Deer. It is recommended for viewers 14 and over.Credit…EMA Films“It was a way to have great Indigenous storytelling, great female-led filmmaking and an extraordinary young lead actress — it was like, how can we not do this?” said Maria-Christina Villaseñor, the festival’s programming director. “It’s our responsibility to be mindful and not afraid.”Villaseñor said she felt particularly obligated after a year dominated by a public-health crisis and a racial reckoning. The initial inclination was “let’s just make it as lighthearted as possible,” she said of the festival. “But I don’t think that fully does justice to kids. Kids need time to process grief and think about loss in ways that are developmentally appropriate.”One of the most affecting evocations of a child’s experience with death is among the festival’s short films, which compete to receive prizes from an adult jury that includes the filmmakers Sofia Coppola and Peter Ramsey. Martina Lee’s “Black Boy Joy,” part of the new shorts program Celebrating Black Stories, focuses on a bereaved fictional family — a grandfather, a father and a 10-year-old autistic son — whose struggles are an affirmation of love as much as an exploration of mourning.Evan Alex in “Black Boy Joy,” part of the new shorts program Celebrating Black Stories.Credit…HBO MaxThe 24-year-old festival, however, also offers comedy, fantasy and another new shorts program, about young people who are reinterpreting their gender identity, as well as titles for audiences as young as 3. Its opening livestreamed event, on Friday evening, is a behind-the-scenes look at the new Netflix animated television series “City of Ghosts,” in which a diverse club of enterprising elementary school students investigate Los Angeles’s supernatural side. The ghosts, all friendly, are not Casper types so much as spirits that illuminate immigrant history.“My hope is that people who are looking for something more calming and intellectually stimulating will enjoy this show,” said Elizabeth Ito, the series’s creator, who will take part in Friday’s event. She said she was aiming for a tone like that of “old ‘Mister Rogers’” episodes.The festival will include a special screening of Don Hall and Carlos López Estrada’s “Raya and the Last Dragon,” a Disney movie.Credit…DisneyThe films, which will mostly be available to stream on demand throughout the festival, also include the cheerful New York City-centered documentary “Curtain Up!” Its directors, Hui Tong and Kelly Ng, visited Public School 124 in Chinatown to chronicle its production of “Frozen KIDS,” a half-hour adaptation of the Disney musical “Frozen,” for the 2019 Junior Theater Festival. The filmmakers and two of the students will take part in a discussion on March 13. Disney fans can also look forward to a special screening of Don Hall and Carlos López Estrada’s animated “Raya and the Last Dragon,” accompanied by a Q. and A., on March 12.Even the festival’s more somber films have moments of joy and triumph. Kenza (Tiara Richards), the 11-year-old protagonist of Eché Janga’s “Buladó,” a feature from the Netherlands and Curaçao, may be adrift without a mother, but she is also a car mechanic, a dead aim with a slingshot and unafraid to embrace the spiritual traditions of her enslaved ancestors. She draws on an inner strength that the heroine of “Beans” discovers as well.“Just because we’re young, it doesn’t mean that we’re powerless,” said Deer, who will discuss “Beans” online with festivalgoers on March 13. “I hope that message gets to them. And that they matter, they have a voice, and the importance of standing up for what they believe in.”“Nahuel and the Magic Book,” a feature from Brazil and Chile that will be screened in a special event.Credit…Punkrobot Animation StudioFilms like these reveal a continuing theme of children connecting to their cultural roots. Sometimes that bond is mystical, as in Germán Acuña’s animated “Nahuel and the Magic Book,” a feature from Brazil and Chile, which will be screened in a special event on Saturday. At other times it involves unearthing forgotten history, as when a teenage Canadian hockey player in Sandi Rankaduwa’s short documentary “Ice Breakers” learns about the Colored Hockey League of the Maritimes.Knowing how much young moviegoers have missed being in theaters, the festival’s organizers have tried to make the experience feel authentic. Cinephiles will still vote for their favorite titles, but with digital ballots, and while the festival participants won’t meet filmmakers face to face, they will have increased opportunities for live discussions online. (Those events will be recorded for later viewing on the festival’s Facebook page.)“Every year we talk about the opportunity to explore the world, to explore ideas, to explore identity through the festival,” said Nina Guralnick, its executive director. Right now, she added, “that feels particularly poignant.”The New York International Children’s Film FestivalThrough March 14; 212-349-0330, nyicff.org.AdvertisementContinue reading the main story More