On its surface, Cedya Torun’s wonderful documentary “KEDi” is about several street cats in Istanbul. And on its surface, “KEDi” will surely please those who value slice-of-life glimpses of cats in foreign lands. It is an extremely well crafted work from a first-time filmmaker who knows how to effectually engage audiences.
If that’s all the film was about.
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It’s been a while, but we here at FilmJerk get the chance to catch up on things happening around the music world. Sometimes we miss out on some exciting new things, such as the opportunity to introduce people to Fitz and the Tantrums before breaking big, but when given the chance to revisit one of the best albums of the 1980s by one of the best bands from the 1980s, we drop everything to give it a listen.
Continue reading “Songs from the Big Chair: 2014 Super Deluxe Edition”
It’s probable your enjoyment of “The Battered Bastards of Baseball,” premiering on Netflix tomorrow, will be dependent on how much you love the game of baseball itself, and that would be a shame. The story about a B-level actor starting an independent minor-league sports team in the mid-1970s is about far more than just baseball, and you’d be depriving yourself of quite a bit of fun.
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Steve James’ touching new film about the late Roger Ebert is one of the hardest films to write about. Practically everyone who has been doing this sort of thing for the past thirty years or so owes the man an astonishing duty of appreciation, and many of us may have never considered attempting it had we not seen him and his success.
Continue reading “Life Itself”
Dinosaurs have fascinated mankind for millennia. We as a people have a seemingly voracious appetite for all things dinosaur, especially after John Ostrom’s works about the Deinonychus Antirrhopus became public in the mid-1960s. And before we take another journey back to “Jurassic Park” next year, we have the animated anthology movie “Dinotasia” to keep us engaged.
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The first warning that “The Freebie” might not be everything it could have been is the omission of a credited writer in the opening credits, and that lack of a structured storyline resonates throughout star and first time director Katie Aselton’s film.
Continue reading “The Freebie”