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The Daily


Errol Morris, A Tribe Called Quest highlight Sundance Madison Screening Room calendar for early fall 2011

Sundance Madison has released another schedule of films in its Screening Room series, which presents consistently intriguing foreign and indie fare. The latest lineup is generous with documentaries. >More
 Likable characters overcome the gimmick of One Day

It's laughably ridiculous, the concept behind the romantic comedy-drama One Day, so maybe there's no logical way to defend the fact that the film charmed me. It simply does much of what you ask of a romance: gives you two interesting people and a reason to hope they wind up happy. >More
 The Double Hour's supernatural trickery disappoints

Damn you, Internet film culture, and your inviolable laws governing spoilers. Understand, I think not disclosing spoilers is good manners, whether we're talking about critics or the guy in the next row. But sometimes a film like the Italian romantic thriller The Double Hour comes along, and I can't tell you in much detail what I think of it without ruining big surprises. >More
 UW Cinematheque expands for fall 2011 season

Last winter at Chicago's Gene Siskel Film Center, I saw Claude Lanzmann's 10-hour Holocaust documentary Shoah as it ought to be seen: in a theater with strangers, over the course of one long, sorrowful, uncomfortable day. You won't get exactly that experience next month, when UW's Cinematheque screens the landmark 1985 film on consecutive Sundays, but it's still a must-see. >More
 Mississippi housekeepers have their say in The Help

In The Help, Aibileen Clark (Viola Davis) is a veteran housekeeper in 1963 Jackson, Miss., raising the latest of the many white children for whom she has been a surrogate mother. She's approached by Skeeter Phelan (Emma Stone), a recent college graduate and aspiring writer who wants to create an anonymous collection of first-person stories about black housekeepers' experiences. >More
 30 Minutes or Less fails to find laughs in a ruthless plot

An action comedy that uses a suicide vest loaded with C4 as its central plot device had better be funny or, at least, thrilling. Otherwise the narrative device will detonate, and the results won't be pretty. >More
 Damaged comedians take a driving tour in The Trip

The Trip, about two comedians who go on a foodie tour through northern England, was first broadcast in the U.K. as a six-part miniseries and then shaved down and shaped into a feature-length picture. The result is a colicky, melancholy comedy that is all shadings and little arc. It's terrific. >More
 The Change-Up toys with the body-swap comedy

Whatever entertainment there is in The Change-Up probably comes from its adherence to the conventions of the "body swap" comedy. Its disappointments rest squarely on its misguided attempts to think outside the body-swap box. >More
 Page One follows The New York Times into the future

No doubt about it, David Carr is a fascinating guy. The raspy-voiced media columnist is the star and narrator of the documentary Page One: Inside the New York Times, and the film shows lots of vintage Carr action. >More
 The Greatest Movie Ever Sold mocks product placement

I feel certain that until I watched the comic documentary The Greatest Movie Ever Sold, I had never before heard Ralph Nader utter these words: "How's the arch support?" Nader asks that unexpected question as director, cowriter and star Morgan Spurlock interviews him about the perils of advertising. >More
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