Craig Seligman
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Oscar-winning filmmaker Alex Gibney untangles the complex Wikileaks saga and founder Julian Assange’s brilliant, dark mind in the fascinating “We Steal Secrets: The Story of WikiLeaks.”
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Ifemelu and her boyfriend, Obinze, are middle-class Nigerians, hardly “starving, or raped, or from burned villages” but still “mired in dissatisfaction.” They consider Lagos a backwater and they want out.
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J.J. Abrams’s “Star Trek Into Darkness” is so much better than it needs to be you just might regret decades of smirking at Trekkie convention-going geeks.
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Baz Luhrmann’s “The Great Gatsby” is a gaudy, Ritz-sized rhinestone of a movie, more flashy than dazzling, beguiling from some angles and phony to its core.
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“A smirk and a cheesy one-liner?,” sneers a villainess during some finely choreographed mayhem in Shane Black’s “Iron Man 3.”
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Many of the films shown at the 2013 Tribeca Film Festival, which concluded Sunday, will be opening in coming weeks on local screens. These were among the best (or in some cases, just the buzziest):
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The hard-luck stories in Barbara Garson’s “Down the Up Escalator: How the 99 Percent Live in the Great Recession” fall into two sections: people who have lost their jobs and people who have lost their homes.
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Near the end of Michael Bay’s juiced-up true-crime comedy “Pain & Gain,” a caption reminds us that “this is still a true story.”
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Tom Cruise patrols a decimated future Earth and jets through the cold dystopia of “Oblivion.”
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The 12th Tribeca Film Festival, which opens Wednesday and continues through April 28, may not be the biggest edition ever mounted. Yet it’s still enormous enough to be overwhelming, with 89 feature films, 60 shorts and five interactive projects from 37 countries.
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In “The Angels’ Share” Robbie, a Glasgow hooligan doing community service in lieu of jail time, wants to give his new son a better childhood than he had. But he’s finding it hard to overcome the pull of gang violence.
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As “The Flamethrowers” opens, Reno (not her real name, which we never do learn) is hurtling on an Italian Moto Valera motorcycle toward the land-speed trials at the Bonneville Salt Flats.
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As a director, Robert Redford has a somber touch; he likes his images clean and autumnal. In “The Company You Keep,” Susan Sarandon and Julie Christie join him as Vietnam-era radicals who have been living under assumed names ever since their group was involved in a botched bank robbery.













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