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Men In Black 3

It’s not a sequel that needed to be made, but thanks to the charm of its leads and a tone that harks back to the wit and humour of the original, it’s a pretty enjoyable trip.

Bel Ami

The excellent female support cast saves this patchy effort, which is let down by its leading man and a flat screenplay.

The Dictator

A disappointing, often repulsive and mean-spirited mess of a film with seemingly only one real criterion on its agenda: to shock and offend.

The Woman In Black

Packed with atmosphere, this old-fashioned but deftly told ghost story delivers ample chills and thrills.

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Page One: A Year Inside The New York Times (Film)

by Erin Free | August 16, 2011 17:40 | Edited August 16, 2011 17:42

A fascinating but sobering look at the rapidly changing world of media – one that may have journalists and publishers quaking in their boots.

In either a stroke of genius, or a dash of grim irony, the venerable newspaper, The New York Times, established a "Media Desk" - a department dedicated to reporting upon changes and developments within the constantly shifting world of modern media - just as mainstream print media was starting to hemorrhage thanks to the incursion of internet news sites. Documentary filmmaker Andrew Rossi was granted access-all-areas permission to film this burgeoning department, and delivers not just a fascinating look at the workings of one element of a massive news institution, but - even more presciently - a kind of pre-eulogy for the mainstream print media. Though not quite in its death throes, this once dominant, now lumbering beast has certainly seen better days, and you can feel Rossi's fondness for it in every frame.

 

Nicely crafted with haunting music, a clean shooting style, and a deliberate, artful sense of pacing, Page One: A Year Inside The New York Times surprisingly shows this newsroom not as a place of harried purpose and constant deadline-chasing, but rather one of deep reflection. It's rare to see so much unbridled intelligence on screen, and the assembled journalists - particularly David Carr, a former crack addict brought in from the outside who now defends The New York Times with an acolyte's zeal - make for a compelling bunch.

 

It is the film's documentation of the changing media world (and the many pointed questions that it asks about it), however, that is most fascinating. While some obviously like the idea of big news institutions - which have for so long operated from a privileged vantage point of arrogance and authority - crumbling, Rossi shows that without them, the various web-based news sites will no longer have anything to leech off, and that news reportage itself may disappear. Page One is a sobering but captivating look at a rapidly changing world, and its ever growing number of victims.