While yesterday’s DC Studios “Chapter 1” film and TV slate announcement did give a surprising amount of information about what the studio is working on moving forward, it didn’t answer all of the questions fans have.
21.01.2023 - 15:49 / theplaylist.net
The prospect of deep-sea mining may seem like a solution to our ever-growing fuel crisis. Polymetallic nodules that sit on the ocean floor are made up of the very type of metals that so-called ‘green’ companies need to build batteries.
Nickel, cobalt, lithium, and graphite have major supply chain issues, as extractive mines are overwhelmed while companies and countries race to control the supply before others. On the surface, it makes sense when companies such as The Metals Company (TMC), and its CEO Gerard Barron, go on Bloomberg to pontificate about the eco-friendly process of extracting these deep-sea nodules.
While yesterday’s DC Studios “Chapter 1” film and TV slate announcement did give a surprising amount of information about what the studio is working on moving forward, it didn’t answer all of the questions fans have.
When new DC Co-Chairmen and CEOs James Gunn and Peter Safran took their new posts last fall, there was a lot of agita in town with their swift decisions.
The avant-garde video artist Nam June Paik gets his own adulatory portrait in Amanda Kim’s documentary “Nam June Paik: Moon is the Oldest TV.” An act of biographical recovery that also, somehow, flattens a controversial artist, Kim’s film provides just enough contextual information to maintain interest, even if it’s never as radical as its titular subject. READ MORE: 25 Most Anticipated Films At The Sundance Film Festival Moving succinctly from birth to death, Kim provides a broad overview of Paik’s history and aesthetic interests.
In 2021, filmgoing audiences were treated to “CODA,” an affectionate look at a music-loving high school senior and her complicated bond with a deaf mother, father, and sibling. A year earlier, “Sound of Metal” presented the devastating journey of a rock drummer’s hearing loss and subsequent attempts to cope with his unfortunate predicament.
Caught somewhere between a movie and a series, “Willie Nelson & Family” doubles down on the history and mythology of its namesake to stretch the latter into what would have been better served as the former. Honest, introspective, yet rarely revelatory, the anthology often mistakes the comprehensive for the essential, and while it succeeds in explaining Willie Nelson to its audience, that’s about all it does.
In writer/director A.V. Rockwell’s feature directorial debut, “A Thousand and One,” Inez (a deeply felt Teyana Talyor) has returned to Harlem after spending a year in Rikers Prison.
This is “a place of mountains and myths,” we’re told as a montage of Central Appalachian imagery fills the frame. The mists, buffalo, ferns, and flowing waters intercut with the coal-filled mountains and mining towns that grew up around them.
There is no shortage of stories about fathers and their kids, specifically sons. But in Justin Chon’s (“Gook,” “Ms.
“Scrapper” starts in a dreary English flat with a child all alone but not incapable. That seems to be the M.O.
Few writers have as much of a hold on adults’ childhood selves as Judy Blume. Even if you’ve never read her books, her impact, especially with her most influential novels decades ago, is felt in how YA fiction is laid out today.
After growing up on a steady diet of “Law & Order: SVU,” Dianey Bermeo wanted to be like Olivia Benson, helping victims of sex crimes by bringing their assailants to justice. She gave up on that dream after police investigators in her college town failed to find the man who she said impersonated an officer and sexually assaulted her.
The "Thoroughbreds" and "Bad Education" filmmaker's sci-fi/comedy finds him working on a larger canvas, but to lesser effect.
Brendon (Algee Smith) isn’t a bad kid. An aspiring artist living in Los Angeles, in his last month of high school, the pressures of his daily life, however, are beginning to overwhelm him.
Ira Sachs prefers relationships of the doomed variety — tempestuous passions torn asunder, sometimes by external forces like capitalism, which complicated the search for a home through New York’s cutthroat real estate market in “Love Is Strange” and “Little Men.” His latest film — the sexy, frustrating, loose-yet-compact, altogether irresistible three-hander “Passages” — also concerns property contracts and a homeless protagonist. However, this one’s got nobody but himself to blame for that predicament, fluent as he is in the same toxic strain of amour fou that previously perfumed the air in “Keep the Lights On” and especially Sachs’ debut, “The Delta.” As in that film — also pitched at the admirably humble quotidian scale Sachs hasn’t felt the need to exceed in more than a quarter decade — “Passages” follows a bisexual chaos agent so wrapped up in his own narcissism that he can’t see where his self-exploration ends and insensitivity to those around him begins.
If Jordan Firstman did not exist, it would be necessary for Sebastián Silva to invent him. “Discomfort rooted in class friction” and “the perverse amusement of watching people be annoying” rank high on the list of stalwart indie filmmaker Silva’s favorite recurring themes, and no modern type marries the two quite as handily as the social media influencer that plague of shamelessly promotional non-celebrities who adopt the entitled mindset of fame long before breaking into the industry sector accommodating it.
The "Once" and "Sing Street" filmmaker is back with another testimonial to the transformative power of popular music.
In Montana’s Big Sky Country, a black cloud hangs over the state’s expansive horizon. It looms above the indigenous residents of the Crow and Northern Cheyenne Reservations and nearby towns in Big Horn County most of all.
A memory, tinged with aching rawness, emerges in “All Dirt Roads Taste of Salt,” the feature debut by writer/director Raven Jackson. This memory briefly foretells the knotting stream of remembrances that roots our protagonist, Mack (played in these early childhood scenes by a sage Kaylee Nicole Johnson). It begins in 1970, with young Mack’s hands softly holding a fishing reel, its pole stretched across the frame.
Actor-turned-filmmaker Alice Englert’s “Bad Behaviour” is a dirty bomb of a movie, and it almost seems intentionally devised to keep the viewer off-balance. What at first appears a rather obvious send-up of self-help culture turns into a take-no-prisoners assault on narrative expectations and norms, all the while painting a pointed portrait of a truly complicated protagonist, the kind of character whose motivations and intentions are so slippery, you can barely make up your mind about her before she gives you a reason to change it again.