A defining scene in “Gimme Danger,” Jim Jarmush’s (“The Dead Don’t Die”) documentary about the Stooges, is when a 1970s talk show host asks Iggy Pop, the band’s lead singer, if the Stooges influenced other artists.
Andrew Warrick
Daily Arts Writer
Film
Coming out of the theatre after “Portrait of a Lady on Fire,” I felt a little disappointed.
The first time I met Lara Jean Covey, I was a freshman in high school reading Jenny Han’s newest release, “To All the Boys I’ve Loved Before,” in an armchair at the Barnes and Noble on Washtenaw.
Days after watching “Acasa, My Home,” I still think of a particular introductory shot with fondness. The camera focuses on a small shack in the middle of a flat plain, a rag-tag structure with peeling gray paint and wavering walls.
Going into “Downhill,” I was most intrigued not by the fact that it is a remake of a popular foreign film, or that it stars top-tier talents like Julia Louis-Dreyfus (“Veep”) and Will Ferrell (“Anchorman”).
I have a confession to make: Last Friday was the first time I ever saw “Titanic.”
The opening scene of “Clemency” is an execution. A group of people gather around a prisoner as a medical worker places the IV into his veins that will deliver fatal drugs to his system.
This year’s group of Oscar-nominated Animated Shorts are not lighthearted. There’s death, illness and abuse packed into their brief runtimes. Yet the ability to convey a moving story in a short amount of time is an achievement that should not be understated.
My attention span has always been questionable — hour-and-a-half lectures often send me scrolling through Twitter for a quick “break.” Even when I watch films at home, I have to be doing something to occupy myself for two hours.