If charming were a category at this year’s Tribeca Film Festival, “The Pretty One” would be at the top of its list. The fact that the film could attain that term after overcoming an early, tragic event vital to the film's plot is a testament to the performances within. Any one genre is difficult to explore but “The Pretty One” manages to incorporate several. According to the film’s director, AFI graduate Jenee LaMarque, who

I recently caught up with Sharon Badal, Short Film Programmer of the Tribeca Festival, and what I learned in thirty minutes could land dozens of books on “How to Make Short Films” in the recycle bin. Sharon's information about this underrated and experimental format, which has long been a filmmaker’s stepping stone, both confirmed some festival dos and donts and disproved some long-held theories about the short film submission process. For instance, Tribeca loves comedies

Those who prefer their accidental-murderer-with-a-guilty-conscience stories to be brooding and inconclusive will get a kick out of “Whitewash,” the more-or-less one-man dark comedy from Canada, starring Thomas Haden Church, and the small-scale Irish drama “What Richard Did,” both currently showing at the Tribeca Film Festival. Set in remote stretches of wintry Northern Quebec, Emanuel Hoss-

Those expecting a traditional rock documentary on The National, mapping the heralded Brooklyn indie rock band’s trajectory from its shaky origins in 1999 to its gradual breakthrough as rock stars, will be sorely disappointed by “Mistaken for Strangers,” directed by National frontman Matt Berninger’s nine-years-younger brother, Tom Berninger. The film opened the Tribeca Film Festival on Wednesday night. Not that there isn’t

There’s a great movie lurking somewhere within the nagging clichés of “Death of a Superhero.” Adapted by Anthony McCarten from his 2008 novel, the film should be applauded for its strikingly morbid animation sequences, a winning lead performance from young up-and-comer Thomas Brodie-Sangster and an effectively solemn turn from the normally hilarious Irish comedienne Sharon Horgan. But with director Ian Fitzgibbon at the helm

The old adage “save the best for last” certainly applied to this year’s Tribeca Film Festival, as the last screening I attended was the thought-provoking, emotional journey called “Future Weather.” I had met its writer, director and producer Jenny Deller at the Tribeca Press Reception beforehand, during which she gave me the film’s background. “Future” lives up to expectations. Clearly, this is not the kind of story in which you’ll

“Nancy, Please” as a character study that reliably builds up […]

Disclosure: “Rubberneck” was a film I was assigned to review, not one I chose. And yet I can’t thank my editor enough, as it’s the most compelling drawn-out thriller I’ve seen in a while. It also serves as illustration for why the Tribeca Film Festival was created in the first place: to provide a venue for the small-budget indies which may otherwise not get much mileage. The hardest part of this essay has been to judge what filmmaker

Havana’s busy streets, the tense subtext of Cuba’s confinement politics, a desperate escape via the sea; “Una Noche” has all the elements of an eminently compelling feature film and newcomer filmmaker Lucy Mulloy has shown that she’s up to the task.

Lila is a socially-awkward young woman who’s very close to her twin brother, Raul, himself in love with a troubled youngster named

Oscar-winning director Terry George ("Hotel Rwanda," "Reservation Road," "The Shore") isn't known for light-hearted comedies. His latest effort, "Whole lotta sole," however, rests convincingly between "Snatch" and "Notting Hill." The story follows several different sets of characters, among them a young father (Martin McCann), a ruthless crime lord (David O'Hara), a grizzled cop (Colm Meaney), and a hapless American (Brendan Fraser), who runs