A 40-years-later sequel of sorts, Wayne Price's docu finds a fresh crop of singer-songwriters outside the industry mainstream in Nashville.
Director David R.L.'s debut feature is neat exercise in extracting maximum value from minimal funds, a single location and (for the most part) just one actor.
A new framing device only muddles further what was already--as "Shuttlecock" in 1991--a polished but convoluted, emotionally remote misfire.
Anyone would have to admire the singularity of vision required to steer such a willfully silly project over a long, long haul.
Tolga Karacelik's psychological thriller with eventual supernatural elements is intriguing enough, but slow-moving and insufficiently atmospheric.
Docu avoid both excessive cronyism and soapboxing as it traverses from a portrait of helmer's comedic mentor to something that could scarcely be less of a laughing matter.
The short, unhappy life of legendary grunge band Nirvana's driving force gets probably-definitive screen treatment.
Riveting docu chronicles the murder trial of Michael Dunn, who fired into a car of four black teenagers in Jacksonville FL during an altercation over loud rap music.
There will surely never be a documentary about nuclear disaster with a protagonist more endearing than Fedor Alexandrovich, a shaggy young Ukrainian multimedia artist.
Brando's complexity is limned as well as a documentary possibly could manage in this college drawn from a extraordinary archive of personal materials.
A gripping you-are-there portrait of a community under siege.