Jake Mulligan

Jake Mulligan

Film section editor at DigBoston, a weekly newspaper.

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  • Hopper/Welles

    Hopper/Welles

    ★★

    Aptly described by Alex Ross Perry as “the first time that anything so stridently resembling raw footage has been packaged and assembled as a commercially available film,” Hopper/Welles is a slates-included portrait of Welles shooting relatively simple black-and-white setups of Hopper in a loose and improvisational manner devised specifically for The Other Side of the Wind: Knowing he’d utilize brief fragments at most, Welles stays off-camera and freely transitions between playing a role and playing himself, pelting the younger star…

  • The Calming

    The Calming

    ★★★

    Depicting the wanderings of a newly-single filmmaker named Lin (Qi Xi) as she exhibits her work and visits loved ones in Japan, Hong Kong, and China, The Calming would seem to reach its high point when the character quietly weeps at the opera—an ostensibly revelatory instance of art-imploding-self that on the page might call to mind Joan Crawford at the piano recital in Autumn Leaves or Anna Paquin at the finale of Margaret. But this is not a melodrama, not…

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  • Chi-Raq

    Chi-Raq

    ★★★★

    Or: The Umbrellas of Chicago.

  • Aziz Ansari: Right Now

    Aziz Ansari: Right Now

    ★★

    Telling moment here where Ansari involves a member of the audience by asking the guy to say a word that evokes a racial slur, and it seems rather clear the guy's not going to say it, but Ansari completes the bit as if he was about to anyway, not so much because there's greater meaning to be found in doing so but more because that's the only direction the bit can take which allows Ansari to frame himself as a…