00000 - 00000 of 00000
00,000 of 00,000
Unquestionably the best multiplex in Brooklyn, this spin-off of the Brooklyn Academy of Music offers unique art-house films and repertory programming under its BAMcinematek banner. Keep an eye open for events involving Voice film staffers, who are regular participants in Q&As and presenters at small festivals.
There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old... More »
There's a scene in Baz Luhrmann's The Great Gatsby in which Leonardo DiCaprio's hyperrich, super-awkward Jay Gatsby takes it upon himself to redecorate the bachelor pad of his less-prosperous friend, Nick Carraway (Tobey Maguire). Gatsby's old flame, Daisy Buchanan (Carey Mulligan), is coming to Nick’s for tea. Eager to impress her, Gatsby has brought in boughs draped with explosive white flowers, macaroons in every color of the paintbox, and tiered cakes straight out of Marie Antoinette's court. "You think it's too much?" he asks Nick. Nick offers the polite answer: "I think it's what you want." The Great Gatsby is both too much and what Luhrmann wants, less a movie version of F. Scott Fitzgerald's novel than a movie version of Jay Gatsby himself. It’s polished to a handsome sheen and possesses no class or taste beyond the kind you can buy. And those are the reasons to love it. The performers often look lost, but the movie moves, breathes, and has color on its side. Though Fitzgerald couldn't have known it, he wrote a scene tailor-made for 3-D, the one in which Gatsby rummages through his collection of brilliantly colored silk shirts and tosses one after another toward his lady love. In Luhrmann's vision, they float down around Daisy like polychrome snowflakes. It's all so fake. It should all be so horrible. But really, all Luhrmann has done is build a crazy art deco Taj Mahal to the glory of The Great Gatsby. Like Gatsby, Luhrmann is a faker but not a phony. Fitzgerald knew the difference. Can we see it, too? « Less
Jean-Luc Godard said, "All you need for a movie is a girl and a gun." But really, all you need is a girl, preferably a charismatic one with a secret in her heart. Director and actress Sarah Polley has found that girl: her own mother. Polley's... More »
Jean-Luc Godard said, "All you need for a movie is a girl and a gun." But really, all you need is a girl, preferably a charismatic one with a secret in her heart. Director and actress Sarah Polley has found that girl: her own mother. Polley's documentary, Stories We Tell, attempts to unravel some of the mysteries of her own family's life. This wondrous, absorbing little picture covers a great deal of winding meta-territory, reflecting on the ways in which a single family's story can be told—or maybe, more accurately, examining the idea that there’s no such thing as a "single story." One girl, as Sarah Polley learns, can actually be many girls in one. Polley opens by introducing us to her cast of characters: her father, Michael Polley, an assortment of family friends, and various siblings and stepsiblings, all of whom look a little like Polley-- and yet don't. The director has assembled this tribunal to reassemble the story of her late mother, Diane, a woman we get to know gradually through home-movie footage, re-creations that have the look and feel of that home-movie footage, and recollections from the people who knew and loved her. She shapes the picture into a riddle that keeps us guessing every minute, and what she ends up with is so oddly shaped that it could be categorized an experimental film. But it's too warm to be off-putting. There's no way, Polley concludes, to tell a reliably true tale. But this particular story, which begins and ends with a woman’s face, feels true enough. « Less
In Tony Richardson’s Mademoiselle, a stony-jawed Jeanne Moreau tenderly lifts the eggs from a bird’s nest, only to crush them in her fist—just beca...
Dir. John Frankenheimer (1966).
Dir. Ingrid Martens (2011).
Few films lend themselves to critical reevaluation as well as David Lynch's much-maligned Twin Peaks: Fire Walk With Me. Booed at its premiere at Cannes in 1992 (and playing at BAM as part of their "Booed at Cannes" series, which runs through May... More »
The entraining beats and politically engaged music of famed Moroccan quintet Nass El Ghiwane is the subject of director Ahmed El Maanouni’s 1981 concert-doc Trances, which opens BAMcinématek’s three-Monday Saharan Frequencies series dedicated... More »
Forget It’s a Wonderful Life. For a truly heartwarming Christmas story this year, try John Waters’s camptastic 1974 classic Female Trouble. The queenly Divine stars as Dawn Davenport, a high school rebel who runs away from her drab suburban life... More »
Some people will do anything for free alcohol. Take unemployed brothers Bob and Doug McKenzie who place a live mouse in a beer bottle and attempt to blackmail a liquor store owner into giving them free beer. Who would think up such a scheme? Rick... More »
Dir. Franc Roddam (1979). BAM's celebration of everyone's third-favorite classic-rock band peaks the rare rock movie that works as drama. A tough-minded, dirt-under-the-fingernails portrait of disaffected London youth in the early '60s,... More »
A huge but welcoming comfort zone, BAM Rose Cinemas boasts the finest multitheater filmgoing amenities in the five boroughs. Featuring vast screens, plush (and steep!) stadium seating, a mix of Angelika-ish current releases and quirky repertory programming, good-natured clientele who remember to turn off their cell phones (one glaring exception: July 9, 9:30, Fallen Angels. All four of you--for shame!), and downright daunting concession stands offering Ben & Jerry's, iced coffee, and... More »
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city