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It is inevitable when asking questions of others, you find yourself reflecting on what your own answers might be. Maybe not all reporters or journalists feel this way, but sometimes, when I’m interviewing someone, I have to stop myself from giving an answer while asking a question to avoid accidentally leading the person I’m talking with to follow my own thoughts. In Mike Mills’ effortlessly charming “C’mon C’mon,” Johnny (Joaquin Phoenix) is an audio producer asking countless kids their thoughts about the future and their communities. Some are fearful, some are hopeful, some want the world to get along, others just want the world to see them as they are. It’s to put viewers in a reflective mood, even Johnny doesn’t spend the rest of the movie ruminating about the future. Like most grown-ups, he’s just trying to make it through the day: juggling multiple tasks, stopping crises before they get worse, or just trying to help another person in need. Stopping to ask questions for his job is

In November 1987, two stations in Chicago, Illinois were hijacked. During the sports portion of the news on WGN that evening, the signal suddenly switched to a person wearing a Max Headroom mask with a swiveling panel behind the figure and distorted audio. Two hours later, it happened again on PBS during a showing of “Doctor Who.” This one was longer and included soundbites that could be made out and even ended with a butt shot. No one was ever caught. It wasn’t the first time—there’s a famous one from a business owner named Captain Midnight from 1986 and the notorious Southern Television broadcast interruption in England in the late ‘70s—but it feels like the event that most inspired Jacob Gentry’s “Broadcast Signal Intrusion,” which uses the concept to tell a story about paranoia and that nagging sense when you’re just one revelation from putting together what everyone else seems to have stopped trying to figure out. Harry Shum Jr. plays James, a video archivist in Chicago in 1999 wh

In 2002, a group of women in Uttar Pradesh formed a newspaper. They called it Khabar Lahariya (translated as "Waves of News"). Everyone expected that the project wouldn't amount to much, but Khabar Lahariya is thriving 20 years later. This entirely women-run news outlet has a digital platform, an active Facebook page, as well as a YouTube channel (10 million views and counting). The women do on-the-ground reporting of breaking news, all filmed on their cell phone cameras, as well as painstaking (and often dangerous) gumshoe investigations on the issues affecting their community: unsafe living and working conditions, political corruption, the epidemic of rape and violence, particularly against the Dalit population. These reporters are all Dalit women, a group considered so "untouchable" they aren't even included in the caste system. But Khabar Lahariya persists, even in the face of community hostility and resistance from families, husbands, in-laws. "Wri

“Belfast” is unquestionably Kenneth Branagh’s most personal film to date, but it’s also sure to have universal resonance. It depicts a violent, tumultuous time in Northern Ireland, but it does so through the innocent, exuberant eyes of a nine-year-old boy. And it’s shot in gentle black-and-white, with sporadic bursts of glorious color. In recalling his youthful days in an insular neighborhood in the titular city, Branagh has made a film that’s both intimate and ambitious—his “Roma,” if you’ll forgive the inevitable comparison to Alfonso Cuarón’s recent masterpiece. That’s quite a balancing act the writer/director attempts to pull off, and for the most part, he succeeds. It’s hard not to be charmed by this love letter to a pivotal place and time in his childhood, and to the people who helped shape him into the singular cultural force he’d become. Long before the dedication that plays in front of the closing credits—“For the ones who stayed. For the ones who left. And for all the ones wh

Set in El Paso, Texas, Maisie Crow’s documentary “At the Ready” takes aim at the law enforcement classes that scoop up vulnerable students who are looking for ways to help their families with the promise of a decent salary that doesn’t require going into debt for college. It’s a dose of sobering insight, captured at the height of the Trump administration and when headlines about separating families at the border dominated the news. With a class predominantly filled with Latino students, many of them with immigrant parents and relatives, the documentary follows a group of children confronted with the realities of the job that are more than just practicing arrests and active shooter training drills.  Encanto  Streaming House of Gucci Streaming Resident Evil  2021 Streaming Suprêmes 2021 Streaming De son vivant 2021 Streaming Les Éternels film complet “At the Ready” opens at the beginning of the school year, complete with the awkward first day of class introductions and giddy smiles. At H

I know what unrepented sins I’ve committed to deserve the Divine punishment that is Netflix’s “The Unforgivable,” but you have a chance to be penitent and avoid it. This is three movies in one, each of which is progressively worse. We start with a tale of repentance, which leads to a brief lawyer drama before descending into a distasteful kidnapping and assault thriller. It is based on a TV series, unseen by me, so perhaps this explains how overstuffed this feels. Sandra Bullock has reason to appear in this—she’s also the producer—but great veterans like Vincent D’Onofrio, W. Earl Brown, and Viola Davis have no excuse. In particular, Davis’ scenes are questionable; she has a throwaway line that I’m sure the filmmakers didn’t intend for me to seriously consider. But it’s such a jarring, out of place comment that it colored my own analysis. Not that the omission of the line would have made this a better film . Had the filmmakers interrogated its meaning, it might have elevated the work,

 Netflix’s “Cowboy Bebop,” premiering this Friday and based on the beloved anime series from the ‘90s by Hajime Yatate, is a prime example of how a show isn’t exactly the sum of its parts, and how the binge model isn’t the best thing to happen to episodic storytelling. There are “parts” here that absolutely work. The main cast is talented and charismatic, especially the leading trio. The individual set pieces—the bounties that unfold in each episode—can be fun to watch. The writing can be fun scene to scene. And yet when one starts to watch multiple episodes, the momentum starts to drag. This is a world that’s fun to visit for 30-45 minutes at a time but becomes television quicksand as the episodes pile on each other. If you’re going to watch it, try and stretch it out. Binging it in one weekend could put you in a bad mood on Monday. Fans of the original have already noted an incredible fealty between the anime and the adaptation with some scenes copied beat for beat as if the original

"Contact" is a film that takes place at the intersection of science, politics and faith. Those are three subjects that don't always fit easily together. In the film, an alien intelligence transmits an image of three pages of encrypted symbols. It is clear where the corners of each page are. It is also clear that the three corners are intended to come together in some way to make single image. Scientists are baffled in their attempts to bring the pages together. The solution, when we see it, provides an Eureka Moment. It is so simple, and yet so difficult to conceive of. It may be intended as a sort of intelligence test. Watching the film again after 14 years, I was startled by how bold it is. Its heroine is a radio astronomer named Dr. Eleanor Arroway (Jodie Foster), who is an atheist. In the film she forms a cautious relationship with Palmer Joss (Matthew McConaughey), a believer in God who writes about science. Key roles are played by science advisors to the President,

  The thing about adolescence, while you're in it, is that it takes so damn long. The future is so close you can touch it, but in the meantime, life is a prison sentence: adults telling you what to do, where to be, treating you like a kid, when you are not a kid at all (in your own mind, that is). One of the things that "Cusp," a documentary by Isabel Bethencourt and Parker Hill, about a trio of teenage girls living in a small Texas town, does really well is evoke that in-between agony, of being still a kid, but on the "cusp" of adulthood, yearning for freedom, independence or ... in the case of these girls ... escape. As one of the girls says, when she turns 18 she is going to leave "and never see my parents again. I am never ever ever coming back here." You believe her. Brittney, Autumn, and Aaloni are 15, 16 years old, and it is summertime. The summer is aimless and endless, and also intense and eventful. "Cusp" has some serious things to

  "The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens up between its origins in the kabuki style and its subject of starvation in a mountain village! The village enforces a tradition of carrying those who have reached the age of 70 up the side of mountain and abandoning them there to die of exposure. Keisuke Kinoshita's 1958 film tells its story with deliberate artifice, using an elaborate set with a path beside a bubbling brook, matte paintings for the backgrounds, mist on dewey evenings, and lighting that drops the backgrounds to black at dramatic moments and then brings up realistic lighting again. Some of its exteriors use black foregrounds and bloody red skies; others use grays and blues. As in kabuki theater, there is a black-clad narrator to tell us what's happening. This artifice supports a story that contains great emotional charge. Kinuyo Tanaka plays Orin, a 70-year-ol