Horror films weren’t the only option for experiencing vicarious terror on the big screen this Halloween. The opening shot of Free Solo, the National Geographic-produced documentary about superstar rock climber Alex Honnold, is as gut-wrenchingly vertigo-inducing as it is stunningly beautiful.
The third chapter of the Netflix documentary series Bobby Kennedy for President, which played at Images Cinema on Sunday, is bookended by scenes of violence. The show’s opening credits are followed by scenes of the turmoil that plagued America in 1968.
Just a few weeks after showing The Wife, Images Cinema has showcased yet another tense character drama revolving around a prodigal young female writer whose talents are stolen by her husband. In a refreshing twist, Colette, based on the true story of French literary legend Sidonie-Gabrielle Colette, delivers visceral satisfaction by proving that – in this case at least – a true story can provide a measure of unexpected triumph.
Rebooting classic film franchises has been a Hollywood staple for years, and the Halloween series is about to receive this treatment, with a critically acclaimed sequel on the verge of release. The line out the door at Images two Fridays ago, however, wasn’t for the latest Halloween film, but rather for a limited-run screening of the original 1978 slasher by John Carpenter.
On Sept. 28 Michael Moore’s new documentary, Fahrenheit 11/9, opened at Images Cinema.
Support the Girls, directed by Andrew Bujalski, is a comedy about what happens when everything goes wrong. The main character, Lisa Conroy (Regina Hall), is the general manager of the highway-side sports bar Double Whammies.
The Wife is an intriguing film, although its immense quality makes it at points hard to watch. The performances are so real, and the reality they capture so unsettling, that there are times when you wonder how much you are actually enjoying it – until all the uncomfortable details build to a thunderously satisfying climax that, while not wrapping anything up neatly, provides a much-needed emotional catharsis.
Crystal Moselle’s Skate Kitchen veers sharply off the path of romantic comedies. It ditches type-casting in favor of a documentary and coming-of-age hybrid for an in-depth look at women in skater subculture.
Shock and Awe, which opened at Images last week, is a new film by director Rob Reiner that tells the true story of the courageous journalists who challenged the narrative propagated by the George W. Bush Administration and the mainstream media leading up to the 2003 invasion of Iraq. The journalists, working for the now-defunct publishing company Knight-Ridder, were harassed, discredited and insulted as unpatriotic by readers and fellow journalists alike for questioning the invasion in the hyper-nationalist post-9/11 atmosphere, but in spite of this adversity they held firm and continued to report the truth.
Tragically, Knight-Ridder’s warnings went unheeded and America barreled headlong into a costly and regrettable war in Iraq in March of 2003.