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      ‘The Return of Tanya Tucker: Featuring Brandi Carlile’ Review: The Evolution of a Country Star

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      A close-up of the singers’ collaboration at Sunset Sound that led to Tucker receiving two Grammys.From the beginning of her career, the country singer Tanya Tucker knew what she was about. In the early 1970s, as a teenage singing sensation in the making, she turned down the song “The Happiest Girl in the Whole U.S.A.” Instead she insisted on recording the more downbeat lost-love tune “Delta Dawn.” Her instincts were right, not just artistically but commercially — the single put the then-13-year-old Tucker on the map.Tucker, now 64, had been largely inactive in music for nearly two decades when she went into the famous Los Angeles studio Sunset Sound with the singer-songwriter Brandi Carlile behind the mixing board (her co-producer was the musician Shooter Jennings) in 2019. This documentary, directed by Kathlyn Horan, is a straightforward chronicle of that collaboration, a reboot that worked out better than any of the participants had anticipated, yielding Tucker two Grammy Awards.Carlile clearly reveres Tucker and comes to her with several songs she’s keen for the singer to interpret. Tucker counters with an unfinished tune of her own — the one that winds up garnering the Grammys. Tucker is often nervous, likes a drink before she gets to the microphone and is frequently late to sessions. Carlile tells the camera that she’s learning to accept Tucker’s “crazy” nature. But compared to, say, Chuck Berry in the 1997 documentary “Hail! Hail! Rock ’n’ Roll,” Tucker is a pussycat.And while her singing has some new grit (she still smokes!), she hasn’t lost a step in terms of phrasing. The teardrop in her voice, strategically used in heartache songs, remains credible. The movie interweaves the contemporary sessions with a very selective — and, while not wholly sanitized, certainly discreet — account of her tumultuous past. Overall it’s a better-than-competent piece of fan service and a not unpersuasive bid for an auxiliary youth audience.The Return of Tanya Tucker: Featuring Brandi CarlileRated R for salty language. Running time: 1 hour 48 minutes. In theaters. More

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      ‘Brainwashed: Sex-Camera-Power’ Review: Demystifying the Male Gaze

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      Directed by Nina Menkes, the film is a distressingly prescriptive documentary aimed at unpacking the patriarchal ways of seeing that have dominated the history of cinema.Directed by Nina Menkes, “Brainwashed” is a distressingly prescriptive documentary aimed at unpacking the patriarchal ways of seeing that have dominated the history of cinema. It employs dozens of movie clips, ripped out of context, that supposedly demonstrate the predatory gaze of the camera and the various visual techniques used to objectify women performers, with Menkes herself occasionally on-screen, lecturing to an audience, laser pointer in hand. (The documentary was developed from a public presentation and a 2017 essay Menkes wrote.)The project feels out of step with the pioneering independent filmmaker’s previous work (“Queen of Diamonds,” “The Bloody Child”), which abounds in provocation, ambiguity and women characters who resist neat interpretation.A Bernard Herrmann-esque score (by Sharon Farber) pulses conspiratorially throughout the documentary, giving the sense that Menkes’s narration is revealing secret and sinister facts about the way cinema caters to male fantasy. It uses examples from beloved and acclaimed films like “Apocalypse Now,” “Do the Right Thing” and “Phantom Thread,” and, toward the end, it presents the apparently rare films in which women do have agency, namely ones directed by Menkes.“Brainwashed” features interviews with the film theorist Laura Mulvey and directors like Julie Dash, Eliza Hittman and Catherine Hardwicke, but, for Menkes, not all women are immune to the patriarchy’s spell, citing Julia Ducournau’s “Titane” and Maïmouna Doucouré’s “Cuties” as instances of internalized misogyny. These particular illustrations suggest that Menkes may not have watched the films, both of which attempt to critique a culture that hypersexualizes girls and women.In some respects, Menkes’s assessment isn’t inaccurate — indeed, some films very much want to make women look powerless and erotic, but that’s not a problem in and of itself. The historical regularity of these depictions is another thing, and that speaks to the larger problem of the industry’s gender inequality and its normalization of sexual assault, which “Brainwashed” rightly identifies but unconvincingly ties to the cinematic language it deconstructs. Limited to a mere pointing out of which kinds of images are empowering to women and which aren’t, the documentary ultimately does a disservice to the art form, feminist or otherwise.Brainwashed: Sex-Camera-PowerNot rated. Running time: 1 hour 47 minutes. In theaters. More

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      ‘Year One: A Political Odyssey’ Review: Biden by the Numbers

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      Despite the insider access, a documentary about the president’s first year in office is short on intriguing tidbits.With the even keel of an official chronicle, the documentary “Year One: A Political Odyssey,” by the director John Maggio, sets down an account of diplomacy during President Biden’s first 365-plus days in office. The selective overview is mostly recounted by administration officials, with the New York Times correspondent David E. Sanger acting as a valuable guide throughout.Underlining Biden’s international, alliance-building outlook, the focus is on efforts to reckon responsibly with the power plays of Russia, China and Afghanistan. Key figures including Secretary of State Antony Blinken and Jen Psaki, the former White House press secretary (but not Biden), sit down for sober interviews that feel like a well-sourced recap. Some crises are less frequently referenced now (the SolarWinds hack); others still loom (Russia’s war on Ukraine).We’re reminded that Biden took office in the still-shellshocked aftermath of Jan. 6, 2021, promising a vital return to normalcy and democracy after the presidency of Donald Trump. His Covid vaccination achievement was followed that summer by a one-two punch: the rise of coronavirus variants and the fall of Afghanistan. But the chaotic unfolding of events in Afghanistan yielded lessons for responding to the run-up of Russia’s invasion of Ukraine.Yet the movie is quiet on domestic policy apart from the pandemic, while covering several international summits. And despite the insider access, intriguing tidbits — like how leaks kept Sanger informed about U.S. intelligence on Russia — will be few to anyone who has been reading the news. The film’s skimping on economic and social issues echoes one description of Biden’s own messaging by some pundits: low-key to the point of obscuring the full picture of his efforts.Year One: A Political OdysseyNot rated. Running time: 1 hour 25 minutes. Watch on HBO Max. More

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      ‘Mama’s Boy’ Review: Mother and Son Pave the Way Forward

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      In this documentary, the Oscar-winning screenwriter Dustin Lance Black looks at how his relationship with his mother motivated his L.G.B.T.Q. activism.Dustin Lance Black’s acceptance speech for best original screenplay at the 2009 Academy Awards is featured twice in “Mama’s Boy,” the new HBO documentary about Black and his mother, Anne. It’s no wonder that the writer, who won his Oscar for “Milk” (2008), the biopic of the L.G.B.T.Q. rights activist Harvey Milk, ended up in Hollywood on that podium: He’s a commanding and affecting speaker. Even when Black’s voice wavers onstage or during interviews for this film, his belief in storytelling as a tool for empathy and activism pours from each word. That stalwart belief has its advantages and disadvantages.Adapted from Black’s memoir, the film has him tracing the life of his mother chronologically, from her childhood in small-town Louisiana and her unwillingness to surrender to polio to her gradual acceptance of her son’s gay identity. Black’s childhood memories, and how his life was irrevocably shaped by both his mother’s conservatism and her resilience, appear to be the backbone of Laurent Bouzereau’s film. Anecdotes about their intimate bond, such as Christmas traditions, give texture to the film’s thesis.Yet “Mama’s Boy” lands as somewhat naïve in the contemporary climate of L.G.B.T.Q. rights. That the screenwriter’s mother was changed by her empathy for people different than her is an admirable value to have. But the film takes a somewhat myopic approach to Black’s reach-across-the-aisle activism philosophy, focusing primarily on his work toward marriage equality. It doesn’t consider how political polarization can make the strategy of sharing space with others, as his mother did, difficult to execute when many places go out of their way to bar those different from them from even entering in the first place.Mama’s BoyNot rated. Running time: 1 hour 42 minutes. Watch on HBO Max. More

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      ‘Eternal Spring’ Review: When State TV Got Hijacked

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      Two decades after members of Falun Gong took over local television programming in Changchun, China, a documentary looks back.“Eternal Spring” revisits an incident from 2002, when members of the spiritual movement Falun Gong hijacked local television programming in the city of Changchun, China. Their goal was to air a video that contradicted the Chinese government’s negative portrayal of the practice, which combines elements of Buddhism, Taoism and Chinese breathing exercises. China, seeing Falun Gong’s popularity as a political threat, had banned the group in 1999.This documentary, directed by Jason Loftus, incorporates animation to revisit these past events. In an eye-catching early sequence, the cartoon equivalent of a fluid single take depicts law enforcement rounding up several people suspected of being involved in Falun Gong or of hijacking the TV signal.“Eternal Spring” primarily trails Daxiong, a Toronto-based comics artist who designed the movie’s storyboards. A Falun Gong adherent who says he had disagreed with the hijacking but who fled China to avoid the crackdown that followed it, he visits with participants in the TV takeover and adjacent figures who now live outside China. (Some of the dramatis personae are introduced with comics-style nicknames: “the mastermind,” “the runner,” “the electrician” and so on.) Daxiong draws illustrations as his interlocutors tell stories of the event’s planning and aftermath, and as they share vivid memories of planners who are no longer alive.“Eternal Spring” has value as an educational tool about Falun Gong and its place in China, and as a testament to its subjects’ bravery in defying the state. Still, while the animation gives the documentary some distinction, the narrative can’t entirely shake the sense that this momentous but brief episode is scaled more for a short than a feature.Eternal SpringNot rated. In Mandarin, with subtitles. Running time: 1 hour 26 minutes. In theaters. More

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      ‘Sell/Buy/Date’ Review: The Topic of Sex Work, From All Sides

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      In Sarah Jones’s engaging film about the sex trade, everyone has a say.If you’re hoping to land squarely on an “aye” or a “nay” about the sex-work industry, Sarah Jones’s documentary-narrative feature, “Sell/Buy/Date,” won’t help. And that’s a good thing.Jones — who wrote, directed and stars in the film — doesn’t treat the tensions between exploitation and empowerment, personal agency and systemic cruelties, as binaries. Instead, they are riveting, confounding and, as exchanges between Jones and her mother attest, personal. Why Jones travels with her deceased sister’s journal factors in mightily, too.In 2016, Jones’s solo show of the same name became an Off Broadway hit. Yet the announcement that she’d be turning it into a movie was met with a barrage of criticism on social media — much of it from sex workers who wanted ownership of their stories. (Laverne Cox pulled out as an executive producer; Meryl Streep stayed on.)Instead of scrapping the project, Jones embraced that blistering chapter, inviting sex-work activists more fully into her fraught and comedic reckoning. Among them: the adult-film actress Lotus Lain; the pole-dance instructor Amy Bond; the courtesan Alice Little of Nevada’s Chicken Ranch brothel; and Evan Seinfeld, the founder of the adult social platform IsMyGirl.On her quest, Jones checks in with some friends — Rosario Dawson, Ilana Glazer and Bryan Cranston, among them. She also brings along four of her characters, which she plays herself: bubbe Lorraine; Bella, a sex-work studies major; Rashid, an Uber driver; and Nereida, a women’s rights advocate. The quartet provide comic relief, and more.After Jones’s pleasant tour of Chicken Ranch, Nereida insists she meet Esperanza Fonseca, an anti-trafficking activist who addresses the knotty issue of agency, showing Jones around a Las Vegas hotel room where opulence often masks violence. As the model Terria Xo says, “It’s not a choice if you have to do it to survive.”Sell/Buy/DateNot rated. Running time: 1 hour 37 minutes. In theaters. More

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      ‘The Picture Taker’ Review: Civil Rights Photographer and F.B.I. Informant

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      The documentary, by the director of “Who Killed Malcolm X?,” is a compelling biography of Ernest Withers, whose photographs helped chronicle Black history.After the photojournalist Ernest Withers died in 2007, a bombshell investigation revealed that the respected Memphis photographer, known for taking over a million pictures of 20th-century Black life during his career, had also been a paid informant of the F.B.I.The documentary “The Picture Taker,” directed by Phil Bertelsen (“Who Killed Malcolm X?”), uses this fact as an entry point into a compelling biography of Withers, whose photographs helped chronicle important events in the civil rights movement, including the Rev. Dr. Martin Luther King Jr.’s final days spent supporting the 1968 sanitation workers’ strike in Memphis.“The Picture Taker” presents several perspectives on Withers’s link to the F.B.I. and noticeably does not come down on a particular side — unlike “Judas and the Black Messiah,” a 2021 historical drama about the murder of the activist and Chicago Black Panther Party leader Fred Hampton, which took up similar subject matter.But the reason to watch the documentary isn’t for the debate about Withers’s motives. It’s to see his impressive archive, which Bertelsen was smart to build the film around.
      From his coverage of the Emmett Till trial in Mississippi to the weddings and first communions of everyday Black people in Memphis, Withers’s photographs give the documentary a visual language that coheres from start to finish.“The Picture Taker” artfully plays with rendering the photographic image for the screen. It graphically alters Withers’s likeness, transforming pictures of him into telling animations and cutouts that pull him out of the background in which he so often dwelled and into the foreground.Ultimately, the film immerses viewers in Withers’s considerable storytelling abilities as an image-maker at the same time that it examines his motives for taking those very pictures — that tension is what makes for an engrossing watch.The Picture TakerNot rated. Running time: 1 hour 20 minutes. In theaters. More

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      ‘Sepa: Our Lord of Miracles’ Review: A Prison in the Amazon Jungle

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      A documentary from the 1980s, now premiering in a restored version, is an eye-opening visit to a Peruvian penal colony.In the late 1940s, the president of Peru, Gen. Manuel Odría, had a bright idea, or so he thought, about the colonization of the Amazon: start with criminals, convicted or not. This penal colony, called Sepa — which began operating in 1951 and was mostly shut down in the early 1990s — was often a dumping ground for political opponents of whatever leadership was in power at the time. Far from so-called civilization and wanting in many resources, it was an environment in which prisoners were obliged to form functioning communities or die.“Sepa: Our Lord of Miracles,” a short but crucial documentary made in 1986, depicts life in the colony. Sepa was populated by all manner of criminals, some violent, some not: sex offenders, thieves, small-scale drug traffickers‌. But, partially because the environment compelled the inhabitants to work together, this “green hell,” as an interviewee calls it, was in a sense far more functional than most prisons: There were no gangs, no alcohol or drug abuse, and little violence.There was, however, a powerful sense of isolation and a good deal of nonchalant corruption. This comes across in sequences showing the ramblings of an amiable prison director at the time, Alfredo Elias, and in visits with a prisoner nicknamed “the colonel,” who hailed from the United States. These scenes are both humorous and a bit terrifying.The movie was directed by the German filmmaker Walter Saxer, an associate of Werner Herzog, and Saxer’s voice on the soundtrack brings the more famous director to mind. (The narration was written by the Peruvian author and onetime politician Mario Vargas Llosa.) Long considered lost, it’s premiering in New York in a restored version. Seen today, it’s a provocative addition to the literature of incarceration.Sepa: Our Lord of MiraclesNot rated. In German, Spanish and English with English subtitles. Running time: 1 hour 17 minutes. In theaters. More