‘Hallelujah’ Film Review: Documentary Explores the Mysterious Beauty of Leonard Cohen Through That One Song

riot tonight,” says the girlfriend of numbers runner Harold (Leslie Odom Jr.), right before the Newark riots of 1967 start. Worse than this is the scene where baby Christopher cries whenever he sees his uncle Tony and an older female family member says the infant might know something they don’t.The new characters are all one-dimensional, and we learn nothing new about the old characters from the series.

know it.”(Note to Kenny: By describing music you have already written that just needs the right movie, you have publicly disqualified that music from Oscar consideration. If music isn’t written specifically for the movie, it’s not eligible.

This review of “Prisoners of the Ghostland” was first published after the film’s January 2021 premiere at the Sundance Film Festival.Prolific and wildly eccentric Japanese auteur Sion Sono has spent most of his career at the dizzying point at which arthouse bravado meets grindhouse gonzo, and his best films stretch the limits of narrative so far as to leave viewers simultaneously gobsmacked and exhilarated.

Also Read: ‘The Good House’ Film Review: Sigourney Weaver Captivates as a Woman Pretending Not to Be Under the InfluenceSince “The Nowhere Inn” follows Clark on one of her St. Vincent tours, the movie predictably begins as Clark’s narrative but eventually concerns Brownstein and her inability to separate herself from her friend’s art and identity.

does for “The Eyes of Tammy Faye.” But Ben Foster’s transformation in Barry Levinson’s “The Survivor,” which had its world premiere at TIFF on Monday, is something different — because he morphs into Holocaust survivor Harry Haft from two different directions in the same film.In scenes set in the latter stages of Haft’s life, Foster is doughy and sluggish, only slightly recognizable as the actor we know from films like “The Messenger” and “Leave No Trace.” In scenes set during World War II, when

th Century Women” to Lee Isaac Chung’s “Minari,” from John Boorman’s “Hope and Glory” to Alfonso Cuaron’s “Roma.” Writer-director-actor Kenneth Branagh has now tried his hand at the genre, and to say that “Belfast” brings out the best in him would be an understatement.Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament

harpy?” David asks when Jo gives him one too many instructions in the car.

thrown in for good measure. The atmosphere is suitably stark — snow sweeps across empty valleys, human figures are dwarfed under massive castles — and the arena where Jean and Jacques settle their differences is a wintry nightmare.

Alissa Simon Film CriticFor over 25 years, Emmy-award winning directors/producers Dan Geller and Dayna Goldfine have jointly created multi-character documentary narratives that use the personal stories of their protagonists to paint a larger portrait of the human experience. They are especially known for meticulous archival research, which made works such as “Ballets Russes” (2005) and “Isadora Duncan: Movement from the Soul” (1988) so extraordinary.

th Century Women” and “Beginners,” but now there’s the formal melancholy of black-and-white cinematography (by Robbie Ryan, “Marriage Story”) and the story of a minor and his impromptu guardian.For this psychologically textured effort, Mills careens with the tale of a 9-year-old boy with a hyperactive mind, his burdened mother, and his uncle-turned–temporary putative father.