Completing a trifecta of recent cinema suddenly fascinated with the social-science lab experiments of the Eisenhower-Nixon era, Experimenter is as cool as a grad student clamping electrodes onto a test monkey. One of our lowest-profile indie-film treasures, director Michael Almereyda never makes the same movie twice, toggling from Pixelvision experiment…
Why would a world-renowned philosopher come to Denver to talk at a free screening of an old film noir? “When I talk about German philosophers, people tend to tune out. When I talk about movies, I get a much better reception,” says Robert Pippin, a Kant, Hegel and Nietzsche expert at…
Twenty-year-old Josh’s (Josh Thomas) world explodes twice in the Please Like Me pilot: first when he realizes he’s gay, and again when his bipolar mother, Rose (Debra Lawrance), attempts suicide. Josh takes both revelations in stride, though he dreads having to explain to his mom, whom he’ll be living with…
We’re in the spooky season, full of haunted houses, zombie crawls, scary movies — and next year could be even spookier. The announcement trailer for Friday the 13th: The Game was just released, and it hypes what looks like the scariest survival horror game yet, coming next fall. The asymmetrical multiplayer…
Here’s a scary story for you. Somewhere in Hollywood, a cabal of producers are forever zombie-ing up the corpses of long-dead licensed properties, ever hopeful that you will continue to throw your money at familiar trademarked characters even as they eat your brains. Sometimes, when a silver moon shines just…
A lot of ink (most of it negative) has been spilled discussing the cinematic oeuvre of Tyler Perry, whose gospel-infused morality tales leave critics cold but do so well with audiences that they’ve afforded Perry the chance to be an auteur — a creative who has absolute control over every…
The good news about the Richard Gere drama about the bad news of New York’s enduring homeless crisis? Time Out of Mind, written and directed by Oren Moverman, is stubbornly, respectfully unflashy, Manhattan neorealism steeped more in reportage than in the clichés of prestige films. A prideful man slow to…
Here’s a hair-raising assignment: Imagine you’re tasked with capturing the social and psychological complexities of a nation’s crackup within the framework of popular moviemaking. What if Gone With the Wind tried, in its swooning romance, to explicate Scarlett O’Hara’s slow-to-dawn realization of the hopeless immorality of the world she has…
Whiskery and restless, grooving and grotesque, the documentarian Les Blank’s long-suppressed film A Poem Is a Naked Person plays like your memories of some mad, stoned last-century summer. Commissioned by the boogie-woogie piano bluesman Leon Russell, who is more this roaming doc’s fitful center of gravity than its star, A…
Mia Wasikowska is proof of reincarnation. The Australian actress must be possessed by the spirit of Lillian Gish. At 22 — the same age that Gish starred in Birth of a Nation — Wasikowska became a bankable name, playing the lead in Tim Burton’s garish Alice in Wonderland. In the…
Five years ago, the Denver Film Society moved into a new theater space at the Lowenstein Arts & Culture Complex on East Colfax. After settling in to the space’s nooks and crannies, the Sie FilmCenter is finally ready for its closeup, and hosting a fundraiser to celebrate its status as…
Aaron Sorkin opens up a new desktop icon with Steve Jobs, a briskly busy, talkative companion piece to The Social Network. Adapting Walter Isaacson’s biography of the Apple innovator — and covering much of the same ground as Alex Gibney’s documentary Steve Jobs: The Man in the Machine — Sorkin’s…
Steven Spielberg’s true-story Cold War procedural Bridge of Spies has a wintry chill. The colors are gray and green, the skin tones pale as frozen fish, and the film stock fuzzed and snowy. Our protagonist, James Donovan (Tom Hanks), spends half the movie waylaid by a cold and takes his…
Denver filmgoers, grab your boards for some cool waters headed our way as the 38th Denver Film Festival, produced by the Denver Film Society, has announced the first wave of programming for the event, this November 4 – 15. The festival has never announced this much programming ahead of its…
Forty years ago, the big crime news in this wide-lapel cowtown had nothing to do with six-year-old pageant queens, high-school shooters or feuding gangbangers. The obsession of the moment was the 1975 murder of businessman Hal Levine, and the prosecution of Michael Borelli, a supposedly mobbed-up former New York police…
Our nation’s movie boogeymen have been around for a long time. We’ve seen some of the classic movie monsters – Dracula, Frankenstein, the Wolf Man and the Mummy — so many times they just aren’t scary any more; with no element of surprise, the bogeymen are now our buddies. We’ve…
You’d have to be a monster not to be sniffling by the end of Peter Sollett’s Freeheld, a weepy/rousing retelling of a real-life gay-rights triumph that serves as a helpful reminder that the dark ages were just, like, ten years ago. It’s love that lights up that darkness, of course,…
Friendships between women have the ambiguous vitality of growing vines: They can either strangle or nurture, and at times it can be hard to tell the difference. That’s particularly true for young women first stepping into the puzzling gray area of rivalries and loyalties. How best to support your friends…
A documentary about a magazine is doomed never to capture the thing it’s documenting. The best that can be said for Douglas Tirola’s Drunk Stoned Brilliant Dead is that it captures, at times, the heady disbelief of paging through its subject, the National Lampoon, the headwaters of much of American…
In the late 1950s, Columbia Pictures packaged up 52 black-and-white monster movies made by Universal Studios and released them into television syndication. The package as a whole, consisting of both great and not-so-great movies, was called Shock Theater and it was followed by a second grouping called Son of Shock…
Jason Bosch’s ArgusFest has been “raising awareness since 2001,” bringing films, speakers and discussions of critical issues to Denver. But above all, films: For the past fourteen years, he’s screened films that might not otherwise be seen here, showing them in venues small and large. But now Bosch, who we named…
Right up into the 1960s, the Hays Code demanded that criminals in American movies face punishment by the final reel, a stricture that, however well-intentioned, served to propagate our national myth: that the only route to success is hard work and decency. Crime still doesn’t pay, mostly, since on-screen crooks…
