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    REVIEW | A Close Shave: Steven Shainberg's "Fur: An Imaginary Portrait of Diane Arbus"

    If Diane Arbus is an artist whose work has held any importance for you, then here's the good news that accompanies the release of "Fur," starring Nicole Kidman as the late photographer: none of Arbus's photos ever get dragged onscreen, and Kidman's hazy, de-Semitized performance is such a disconnect...

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    REVIEW | A Million Little Pieces: James Longley's Iraq in Fragments

    It seems nary a month goes by without a new documentary about the Iraq War arriving at the local art house, with results ranging from the political thesis on the current U.S. military industrial complex in "Why We Fight" to brutal firsthand accounts of combat in "Occupation: Dreamland" and "The War ...

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    REVIEW | Unknown White Males: Simon Brand's "Unknown"

    Five characters in search of an author: That could be the subtitle for "Unknown," Columbian director Simon Brand's English-language feature debut, which is being released this Friday through the IFC First Take day-and-date program. Known for making music videos (Jessica Simpson's "Irresistible," Ric...

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    REVIEW | Coming Around: Pedro Almodovar's "Volver"

    Count me in the minority, but it wasn't until "Volver" that I really began taking Pedro Almodovar seriously as an artist. Almodovar the high stylist is inarguably on display in "All About My Mother" and "Talk to Her," but both films, for all their scandalous dealings, felt far too eager to please, e...

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    Borderline: Eric Steel's "The Bridge"

    Great clouds of fog often roll over the city of San Francisco and its surroundings, obscuring the city and its dazzling suspension bridges from view across the bay. "The Bridge," Eric Steel's very fine documentary feature debut, opens with a fast-motion shot of the fog as it slowly recedes to revea...

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    Demon Lover: Hans-Christian Schmid's "Requiem"

    The eloquent humanism of German director Hans-Christian Schmid's "Requiem" is as far a departure in both form and content from last year's hokey "The Exorcism of Emily Rose" as shared source material would seem to allow--both films are loosely based on the real-life story of Anneliese Michel, who di...

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    Loony Bin: Terry Gilliam's "Tideland"

    It's amazing the mental leaps one will make in attempts to compensate for a trusted filmmaker's deficiencies. Delusions of mad, misunderstood genius fall away quickly in Terry Gilliam's "Tideland." Not to put too fine a point on it, but what Terry Gilliam's latest creation elicits from its first mom...

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    This Is Hardcore: John Cameron Mitchell's "Shortbus"

    "Shortbus," John Cameron Mitchell's first film since the raucous and more than a tad melancholic "Hedwig and the Angry Inch," opens with another decidedly masculine-featured diva transplanted to America from Europe: the Statue of Liberty. With bold, smooth glides, the camera caresses the faded green...

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    NYFF CRITICS NOTEBOOK: The Best, the Worst and a Festival Revelation

    The best and worst lines of dialog from the first half of the "demanding, inflexible, and insanely selective" (per the trailer) New York Film Festival come from, respectively, Stephen Frears's amusing character study "The Queen" and Todd Field's facile "Little Children." "At the end, all Labour prim...

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    Slaughter Rule: Kevin MacDonald's "The Last King of Scotland"

    Call me a typically history-ignorant American, but before watching "The Last King of Scotland" I didn't know that much about Idi Amin's reign of terror as Uganda's dictator during the 1970s. I don't pretend to be proud of such an oversight -- nevertheless, that lack of knowledge worked to this viewe...

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