Brothers in Arms: A “Hell or High Water” Review

It takes some doing to surprise in a bank heist movie. We’ve seen it all before — films that avoid showing the heist entirely or build to it as a climax, films where the heist turns out well or goes poorly, films with every permutation in between. There’s a lack of new ground to map out there, is my point. Hell or High Water, the latest from director David Mackenzie, makes clear from the start it knows all of this; what’s more, it knows we know it too.

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“Lo and Behold” as Werner Herzog Wanders Into the Future

First you have to wonder: Does director Werner Herzog find these perfect anecdotes and images or do they find him? Early on in his new documentary Lo and Behold, Reveries of the Connected World, we are taken on a tour of a room housing the first Internet-capable computer. It’s a solid hunk of metal at rest in the corner of a quaint little room. Dr. Leonard Kleinrock of UCLA explains how it sent this first message; but it’s a story that ends with the perfect Herzog-ian flourish.

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What to Watch: Film Picks for August

August is a strange month for film. It’s when the few remaining “big” movies get released, some just pushed out the door in the hope that enough people will be bored. These are the films their parent studios are just a little unsure about. They could be good! They could be bad! They could be Suicide Squad (which is bad). But still, as always, we make the picks.

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H.G. Well’s “The Time Machine” is Forever, Even at the End of Time

You are presented with the full edition of Wells’ The Time Machine. The tale now reads like a genteel odyssey, one man’s wanderings through time for no other reason than to see what’s there. The book’s monsters don’t scare you anymore — they seem almost quaint, like desperate little nocturnal apes — but something else does. Time continues to pass.

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Men Behaving Sadly: A “Chevalier” Review

Standing outside of it, you often have to wonder what the hell men are always fighting about. Throwing hands is part of it, but, more commonly, just think of the constant hum of competition that buzzes between a group of dudes if they spend enough time together. Fellas, you know what I’m talking about — you probably don’t have to think too hard to recall your last poker night, or run at the club, or even the latest bullshit session where you inevitably dog-piled on one of your group. It is what it is, for lack of a better explanation. In writer/director Athina Rachel Tsangari’s latest film Chevalier however, we are asked to examine what exactly is up here. What makes men strive to prove they’re the best? Why are we always competing? Why do we insist on this kind of pain? As the film suggests, the answer to these and other questions is somehow both complicated and simple.

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