Posted inArts & Culture Film Blast spotlights – and funds – a rising slate of Detroit filmmakers by George Elkind September 7, 2022September 11, 2025
Posted inArts & Culture In ‘Three Thousand Years of Longing,’ love is a confounding, possessive act by George Elkind August 30, 2022September 11, 2025
Posted inArts & Culture Nathan Fielder’s HBO series ‘The Rehearsal’ is imaginative, original, and essential work by George Elkind August 22, 2022July 20, 2025
Posted inArts & Culture ‘Daron, Daron Colbert’ spotlights Delray actor and his Detroit neighborhood by George Elkind August 16, 2022September 11, 2025
Posted inArts & Culture In ‘Prey,’ familiar action is recast as colonial allegory by George Elkind August 8, 2022September 11, 2025
Posted inArts & Culture Cinema Lamont and Detroit Puppet Company bring a month-long puppet film series by George Elkind August 3, 2022September 11, 2025
Posted inArts & Culture In ‘Nope,’ film history and a great cast messily collide by George Elkind July 25, 2022September 11, 2025
Posted inArts & Culture In Baz Luhrmann’s ‘Elvis,’ the King brings style but no conviction by George Elkind July 18, 2022September 11, 2025
Posted inArts & Culture A wide-ranging self-portrait, ‘Beba’ traces its director’s cross-national family history by George Elkind July 18, 2022September 11, 2025
Posted inArts & Culture ‘Neptune Frost’ is an afrofuturist musical in a league of its own by George Elkind July 1, 2022September 11, 2025
Posted inArts & Culture In ’70s thriller ‘The Black Phone,’ suspenseful moments outstrip all else by George Elkind July 1, 2022September 11, 2025
Posted inArts & Culture In cross-cultural romance ‘Mississippi Masala,’ chemistry — and hope — abide by George Elkind June 21, 2022September 11, 2025
