Portside

Brilliant, tedious and irredeemably evil, Leni Riefenstahl’s "Triumph of the Will" (1935) is one of the great conundrums of cinema history. Now released on DVD.

The Oscars aren’t just a competition for cultural value: They double as an assessment tool that helps pick the industry’s economic winners and losers.

"Son of Saul has already won the Grand Prix at Cannes and the Golden Globe for Best Foreign Language Film, and it’s a clear favorite at the Oscars. It is not—if my description has somehow failed to make clear—an easy film to watch. But it is a forceful and unsettling addition to the cinema of the Holocaust, a film that digs deeply into the gruesome workings of the death camps and ponders questions about duties to the living and duties to the dead." - Christopher Orr

The droll conceit of "Where to Invade Next" is that the Joint Chiefs of Staff “summon” Michael to the Pentagon and deploy him to “invade” countries around the world. But instead of looting them of their natural resources, such as oil, Moore brings their best ideas—including free university education, expanded leisure time, worker representation on boards of directors, school reform, punishment of bankers for recklessly wrecking economies, prison reform, back to the US.

The New York Times, which historically tends to ignore Chomsky, ran a prominent review in its Arts section, going so far as to praise the film and calling Requiem a "well-paced and cogent seminar." Reviewer Daniel Gold writes, "citing Aristotle, Adam Smith and James Madison, among others, he melds history, philosophy and ideology into a sobering vision of a society in an accelerating decline.

After premiering to prolonged standing ovations and plenty of critical acclaim, the slave revolt drama, Birth of a Nation, set off the fiercest bidding war Sundance has ever seen. Fox Searchlight has come out on top, landing the drama in a record-breaking $17.5 million deal, the biggest purchase in Sundance history.

Despite its flimsy historical underpinnings, The Revenant is actually a dream-film throughout. There are sequences—like the improbable dive over a cliff into the waiting arms of a huge tree, or the abandoned cathedral equipped with a Baroque crucifix and a silently swinging bell—where you aren’t quite sure, and you don’t much mind, if what you’re watching is meant to be “really” happening to Hugh Glass or just transpiring in his (or perhaps Iñárritu’s) head.

The outcry over the nomination of 20 white actors, and no black ones, for the Academy Awards gained momentum Monday — Martin Luther King’s Birthday — as director Spike Lee and actress Jada Pinkett Smith announced they would not be attending the ceremony on Feb. 28.

Past Moore movies have proven that huge audiences can be found for political documentaries. Oscar-winning Bowling for Columbine was the highest-grossing documentary until Fahrenheit 9/11 snagged that record, and Sicko is in the top 10 for the genre. But all those films aimed their fire squarely at the United States, while Where to Invade Next aims a meandering Hi-Liter at a smattering of countries. And we all know that outrage is an easier sell than optimism.

The politics of The Hunger Games series aren’t as revolutionary as they’ve been hyped to be. Far from helping us reveal our most pressing contemporary problems, the liberal ideological message of The Hunger Games is that the major problems facing society today are state domination, dictatorships, and the restriction of individual liberties — in short, everything except for exploitation and capitalism.