IN REVIEW
BLITZ (2024)
MCQUEEN RAISES ART LIKE LAZARETH FROM THE FIRE STORMS OF THE BLITZ
By PETER THOMAS BUSCH
The world has heard the horrific war story before, but like L ...
SERIES IN REVIEW
SO LONG, MARIANNE (SERIES 2024)
POETS AND THEIR LOVERS BECOME POPULAR CULTURE DYNAMOS
By PETER THOMAS BUSCH
The bits and pieces of creative genius gathered ...
IN REVIEW
THE BIKERIDERS (2024)
COMER, HARDY, BUTLER AND HARLEY MAKE COMPELLING DRAMATIZATION
By PETER THOMAS BUSCH
The motorcycle club exists because of the riders love for ...
IN REVIEW
LEE (2024)
FILM MEETS PHOTOGRAPH IN SUBTLY COMPELLING STORY TELLING STYLE
By PETER THOMAS BUSCH
The medium frame reflex camera was an instrument of beauty with the ...
BLOCKBUSTER
MEGALOPOLIS (2024)
DIRECTOR PULLS INVISIBLE STRINGS TO MAGICALLY BRING ABOUT CHANGE
By PETER THOMAS BUSCH
Director Francis Ford Coppola captures the gently falli ...
IN PREVIEW
MEGALOPOLIS (2024)
MEGALOPOLIS IN THEATRES SOON
OTC50 previews the film art of director Francis Ford Coppola in anticipation of the screening next week of the film, ...
IN REVIEW
BACK TO BLACK (2024)
JAZZ MUSIC HAD NOT SOUNDED SO GOOD IN SUCH A LONG TIME
By PETER THOMAS BUSCH
The new music biopic is predictably all about the music, ...
IN REVIEW
REAGAN (2024)
DIRECTOR BREAKS THE POLITICAL TIME OF A PRESIDENT INTO PIECES
By PETER THOMAS BUSCH
The favorite president was not so famously regarded as a Hollywoo ...
IN REVIEW
THE AMERICAN (2024)
COMPETITION JUST NEVER QUITS DURING THE DAY OR DURING THE NIGHT
By PETER THOMAS BUSCH
Little girls want to be dancers and every bal ...
IN REVIEW
YOUNG WOMAN AND THE SEA (2024)
FEMALE PARTICIPATION IN SPORTS REDFINES GENDER BARRIERS
By PETER THOMAS BUSCH
The English Channel posed a formidable challenge t ...
