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08 Jun

What’s the usual restless spirit or chainsaw maniac got on a paranoid white dude with a concealed carry? The fionest man in all of TV is back to ignite our loins and perplex our brains as he revives this investigative series from the 1970s. ) —A co-production of the Film Society of Lincoln Center and the Dance Films Association, this year’s festival — its namesake’s 46th — offers sixteen programs encompassing ambitious features and quirky shorts from seventeen countries.Fun fact: Leonard Nimoy (a/k/a Spock) (a/k/a excellent photographer of awesome fat women) hosted the original, and now Zachary (also a/k/a Spock) is taking over the reins. In addition to the programs at the giant Walter Reade Theater, free screenings and discussions take place in the FSLC’s Elinor Bunin Monroe Film Center Amphitheater across the street.

Rife with nods to B-horror and kaiju fare, focuses on a pair of elaborate annual fireworks displays that inevitably lead to injuries and worse.

They’re just two wonderful men gracing our TVs and bringing us all sorts of shock and awe and good vibes. Grab an all-access pass, another discount package, or single tickets and enjoy the comfy, commercial-free cinema environs. The third season of this Netflix docuseries about junior college football moves from East Mississippi Community College to Independence, Kansas, where a new crop of NFL hopefuls balance school and sport while their coach screams obscenities in their faces. , with the action shifted to the pre-Columbian archeological sites at the Mexican pyramids, the sixth of six films by the preternaturally sophisticated and erudite American writer-director Albert Lewin () suffers from most of the usual balderdash that hindered Cinema Scope travelogue pictures of every stripe.

There are one or two unproven young actors; camera placement certainty reset to zero thanks to the new formats; and a vague malaise in the production’s unity that executives sought to resolve with barrels of cash.

(The more things change, etc.) All five of Lewin’s other movies are stronger by orders of magnitude, but This 1973 adaptation of Sam Greenlee’s novel (co-scripted by the author) is a martini-dry political fable, in which the first-ever black CIA agent abruptly quits and uses his acquired knowledge to plan and build a large-scale, anti-authoritarian insurrection.

Crisply directed by TV veteran Ivan Dixon, and edited by Michael Kahn, who would go on to be Spielberg’s cutter of forty years, is a superb example of having one’s cake and eating it, as it indulges the perspectives of the outsider and the insider as one.