There’s a glorious tension in Vincent Van Gogh’s paintings, the thick paint holding each of the artist’s gestures like an insect in amber, and the long-hardened material still appearing to shiver and pulse. Animators Dorota Kobiela and Hugh Welchman free that contained movement.
The petite Holly Hunter has an oversized onscreen presence, a vibrant intensity that can make her co-stars appear subservient. One of the best aspects of Katherine Dieckmann’s exquisite Strange Weather is its character parity.
The simplicity of Kathryn Bigelow’s Detroit is its best and worst quality. Her direction has such clarity and power that the chaos and brutality of 50 years ago is vivid and immediate.
Fiona Gordon and Dominique Abel’s signature style blends screwball and romantic comedy with playful fantasy, but Lost in Paris lacks the magical elements of their previous features (Iceberg, Rumba, and The Fairy, co-directed with Bruno Romy).
The antagonistic atheist Madalyn Murray O’Hair relished it when Life magazine called her “The Most Hated Woman in America” in the 1964 profile that only heightened her notoriety. That designation followed the 1963 Supreme Court ruling on Murray v. Curlett (and another lawsuit) that ended