Angela Bettis does her best with the material, but it's a bit too aimless and amateur (more student film than anything else) to really work for people who aren't rabid Califone fans like myself. The soundtrack is of course wonderful though.
A movie is not great because it was difficult to make, and Russian Ark is not great because of its strenuous single take. It's a deeply reactionary film that expects one to be truly upset at the death of aristocracy, one that paints our sole somewhat anti-Aristocratic speaker as a pompous, argumentative, ill-informed, fanatical extremist prone to outbursts of upsetting, self-righteous rage (and of course, even he comes around by the end). This is a film that pleads to its…
Handsomely mounted and entirely devoid of any kind of substance. Note to my cisgender friends, this is coming from a real life Certified Trans Woman™: you don't have to pretend to like this movie anymore. It's not very good.
Full review here: dimthehouselights.com/2015/12/the-danish-girl/
Compared to its obvious sister piece, The Fog of War (a masterpiece of documentary filmmaking), The Unknown Known can seem frustratingly elusive and indirect. Rumsfeld seems almost pathologically incapable of answering a question straight, and his near-constant denial of basic facts (even when shown to him directly) is maddening at times. However, Errol Morris is a great filmmaker, and he uses this slippery quality to express the very character of the man he's sat down to interview. In every evasive…