Beginning the year with a moving turn in the Sundance darling, "Sometimes I Think About Dying," Daisy Ridley continues her quest to carve out exciting performances in absorbing films. The actress ends 2023 with Neil Burger's "The Marsh King's Daughter." As with all adaptations of popular mainstream novels, fans of Karen Dionne's 2017 namesake work will likely lead the the book was better charge. While Burger's film (written by father and

Sofia Coppola has a precise directing style that keeps her unique and solidifies her as one of the most exciting filmmakers working today. The Oscar-winning director gives her films an artfully European aura. Graceful and ambient, her characters are crafted with precision and honesty and exist in an almost celestial cinematic world. For her latest film, "Priscilla," to come up so emotionally empty is disappointing.

Using narration, sprightly pop music, animation and a buoyant dance number, Maryam Kesharvarz's semi-autobiographical "The Persian Version" announces its unabashed free spirit from the opening moments.

Leila (an electrifying Layla Mohammadi) tells the story of her experiences being an openly gay woman in a Persian-American family. Comparing Iran and America to

Director Jesse V. Johnson has directed action movies that are more than respectable. He understands the advantage of working with skilled stunt teams and performers and knows how to create good action sequences. His films with Scott Adkins are fun, 2009’s “Triple Threat” was a career highlight as it starred some of the best martial artists alive today in dramatic fight sequences. Mostly setting his films in the modern era

At the start of the twentieth century, it was estimated that fewer than 1,000 bison were left on the Great Plains following two centuries of unchecked extermination. Today, thanks to conservation efforts, they number approximately 450,000—but still far, far below the tens of millions of animals that once roamed the continent.  

In “The American Buffalo"

Bill Burr is one of the funniest comedians working today. Along with colleagues Greg Proops and Marc Maron, Burr completes the modern trifecta of thinking man’s comedy, existing as that rare gem, a man who speaks his mind most truly. Never kowtowing to social climates, nor suffering fools, his act reflects his life and how he sees a country and a world that has gone askew. Burr’s voice is strong and honest. With “Old Dads'' (his debut film as writer/director), the comedian scores a win, crafting a comedy that skewers the self-righteousness of current America, while surprising with a script (co-written by Ben Tishler) that includes a heartfelt and introspective look at Burr’s emotional issues.

The use of reenactments cheapens certain documentary films. These moments are sometimes shot haphazardly and cause even the best documentaries to lose their impact. Chris Holt does indeed pepper his new film, “The Devil on Trial'', with scripted re-enactments, but the director breaks the mold, using the operating mode sparingly.

Though successfully used (more than once)

In the last century, more than ninety percent of Black farmers lost their property, often in schemes that dispossessed them of decades or even centuries of ties to their land. Greed, as it often does, plays a part, especially when backed by a corporate machine intent on seizing property for development.

Just one such example of land grabbing is documented in the new film “Silver Dollar

Joan Baez I Am a Noise” is less a travelogue of Joan Baez’s six decades in music than it is an exploration of her personality, her hopes, her tragedies, her triumphs and her political advocacy on behalf of the cause of peace.  In addition to the music she made early on with Bob Dylan, the film tells of Baez’s difficulties with anxiety as well as her later-in-life wish to confront her parents about what she viewed as unacceptable

Pedro Almodóvar’s thirty one-minute serving of cinematic tapas, “Strange Way of Life," is his first Western, of sorts. The picture has guns and horses and rugged men on both sides of the law, but there is also a burning sexuality to the piece. After all, this is Almodóvar. Fans of Almodóvar films should be aware this is not a subversive and comedically flamboyant look at Westerns but a subdued motion picture. What may seem a simple tale at surface level, breathes