Screen
The Midnight Family
Mexico City is home to 9 million souls, but the government operates fewer than 45 ambulances to aid them in times of need. To...
Exploring legacy of experimental filmmaker Brakhage
No one can say for sure what the late Stan Brakhage would think of the Brakhage Center Symposium — except that he would both hate and love it...
The cinema remains
Back for a second weekend, the 40th annual Denver Film Festival offers plenty for moviegoers looking for something old and something new. From the...
Guerrilla Film School: ‘Monsieur Hire’
If you’ve been missing
CWA’s annual Ebert Interruptus and the pleasure of a good film conversation,
then head down to Denver’s Smiley Branch Library on Dec....
Homeviewing: Refugee-pers Creepers
The most satisfying response to a horror movie scare is not a jump, a shriek or a recoil. It is a verbal “Nope!” It...
BIFF 2013: The man behind the Man in Black
In 2005, Jonathan Holiff was living in Los Angeles, working hard at his agency, The Hollywood-Madison Group. He hooked up celebrities with Fortune 500 companies for product endorsements; one of his biggest successes was getting Jessica Simpson together with Chicken ...
Familiar fish tale
Baby Dory is the cutest thing that has ever been recorded in the history of cinema. This is an inarguable fact. She’s 90 percent...
The cinema awaits
The Denver Film Festival (DFF) turns 40 this year, and for the next two weekends, the Sie Film Center, the UA Pavilions and the...
Smurfed up
The good news about the big-screen 3-D version of The Smurfs is that it’s not the insipid — and some say “socialist” — Smurfs you remember from 1980s TV...
Me without you
Ash is Purest White is a gangster movie. Well, sort of. Sure, the movie opens with a room full of low-level gangsters gambling, but...
Couldn’t put eggsy together again
When done well, a movie that simultaneously exists as a certain thing while satirizing that same thing resembles a Mobius strip, a tantalizing narrative...
Faint pulse praise
Warm is the ultimate ’tweener temperature. It’s not “hot” or “cold”; it rejects extreme or definitive categorization. It’s the thermometer equivalent of “meh.” So, it’s fitting that writer/director Jonathon Levine’s film sports the noncommittal word as the lead in ...


















