Category Archives: Releases

Coming to theatres and VOD today, Wednesday, April 29: SOUL BOYS OF THE WESTERN WORLD

George Hencken’s look back at one of the seminal bands of the 1980s debuted at SXSW last year. It went on to screen at DOC NYC, Rome, Sheffield, CPH:DOX, BAFICI, and In-Edit, among others.

I previously wrote about the film for DOC NYC’s program, saying:
In George Hencken’s impressively constructed portrait, Spandau Ballet, one of the bands that defined the 1980s, tell their own story, set against a backdrop of evocative period footage, including never-before-seen home movies. Bandmates reveal how a group of working-class Brits came to conquer music and influence fashion around the world, only to break up at the end of the decade. In the wake of the acrimonious legal battle that followed, all hope for reconciliation seemed lost, but nearly two decades later, fans finally got their wish.

Coming to VOD today, Tuesday, April 28: ABOVE AND BEYOND

Roberta Grossman’s exploration of the origins of the Israeli Air Force premiered at Jerusalem last year. Other fest berths have included DOC NYC, Palm Springs, Heartland, and Jewish fests in San Francisco, Toronto, Boston, Nashville, Hong Kong, and Vancouver. The Orchard now makes the film available on iTunes and other VOD platforms.

I previously wrote about the doc here.

Coming to VOD today, Tuesday, April 28: IN COUNTRY

Mike Attie and Meghan O’Hara’s portrait of Vietnam War re-enactors made its world premiere at Full Frame last year. Other fest screenings included DOC NYC, Hot Docs, CPH:DOX, and Camden before its theatrical release earlier this month. Bond/360 now makes the film available on iTunes, Google Play, Amazon Instant Video, and VUDU, as well as from the film’s website.

I previously wrote about the doc here.

Coming to HBO tonight, Monday, April 27: TALES OF THE GRIM SLEEPER

Nick Broomfield’s examination of a case of serial killing in South Central Los Angeles debuted at Telluride last year. It went on to screen at Toronto, DOC NYC, NYFF, CPH:DOX, AFI Fest, and Zurich, among others, and was shortlisted for the Academy Awards.

I previously wrote about the doc upon its theatrical release here.

Coming to VOD today, April 24: CITIZENFOUR

Laura Poitras’ chronicle of the Edward Snowden story debuted at the New York Film Festival last Fall. It went on to screen at London, DOC NYC, DOK Leipzig, CPH:DOX, IDFA, and Goteborg, and enjoyed a successful theatrical release. The film was the winner of the Best Documentary Oscar earlier this year. It now comes to VOD platforms including iTunes, Google Play, Playstation, Vudu, XBOX, Amazon, and all digital providers.

I previously wrote about the doc upon its release

Coming to theatres today, Friday, April 24: THE GREAT MUSEUM

Johannes Holzhausen’s insider tour of one of Austria’s finest art institutions debuted at Berlin last year. It has gone on to screen extensively, including berths at San Francisco, Seattle, Sydney, New Zealand, Los Angeles, Jerusalem, London, IDFA, CPH:DOX, Biografilm, Reykjavik, Vancouver, and the Hamptons.

Part of a recent spate of nonfiction focused on museums, which includes sprawling multi-hour works like Frederick Wiseman’s NATIONAL GALLERY, Oeke Hoogendijk’s THE NEW RIJKSMUSEUM, and the omnibus CATHEDRALS OF CULTURE series, Holzhausen’s more contained foray into institutional operations focuses on Vienna’s impressive Kunsthistorisches Museum, established by the legendary Hapsburgs in 1891. As cleverly revealed in its opening sequence, which tours through the massive interior of the spectacular building until it follows a workman into a grand hall where he abruptly begins tearing up the floor, the film’s throughline is the renovation and reinstallation of the museum’s Kunstkammer galleries. Beyond this undertaking, the museum staff’s daily routines are observed, from investigating potential insect damage to old canvases and repairing timeworn artifacts to thanking donors for bequeathing a cherished family heirloom of historical significance to holding a staff meeting which, in a pleasantly awkward moment, reveals levels of hierarchy between curatorial and service staff. Holzhausen brings an informed art historian’s eye to his camera’s unobtrusive wanderings around the museum, but also has a knack for capturing these human moments among the grandeur, making for both an enlightening and relatable look at this rarified institution.`