In the documentary Like a Rolling Stone: The Life and Times of Ben Fong-Torres, Fong-Torres recounts the feeling of flipping through the jukebox at his father’s restaurant stating, “Inside jukeboxes, there was no segregation…Rock and Roll was an equalizer.” Music gave voice to the disenfranchised as a form of protest. These principles of rock and roll shaped Fong-Torres’s writing sensibilities, making him a rockstar journalist within the music industry.

The Sparks Brothers is as entertaining as it is informative, and music lovers should leave the film both appreciating the Maels’ contributions to pop music and admiring Wright’s ability to tell their story. Furthermore, the folks who – like me – came into this project unaware of the band will, no doubt, spend a few hours digging through its rather impressive back catalog. Not every movie leaves me with new downloads in my music library, but this one certainly did.

Beer not only predates the pilgrims in the Americas, but it played a decisive role in the pilgrims choosing to make landfall in Massachusetts — they were running low. With its long-standing history of production and consumption, with only a brief interlude for the national experiment in Prohibition, beer comes as close as any other beverage to being a national beverage. Despite this august history, the new documentary Brewmance – directed by Christo Brock -- picks up its story later.

That mystique -- and controversy -- still cling to the movie producer, investor, and political adviser. With his one-time employer Donald Trump now in the fight for his electoral life, and Bannon embroiled not only in a fraud case but the uproar of the discovery of a computer alleged to be Hunter Biden’s, now is an opportune time to revisit Bannon and look for that vital spark imparted on the 2016 Trump candidacy through the lens of Errol Morris's interview documentary American Dharma.

Before the September 11, 2001, attacks, before the current pandemic, grief of such cataclysmic proportions seemed unimaginable for many.  But when sculptor Suse Lowenstein’s son Alex, along with his schoolmates, was lost in the bombing of Pan Am Flight 103 over Lockerbie, Scotland, on December 21, 1988, unimaginable grief became a tragic reality for her.  The question was, how to survive it?

But his true pleasure is in showing us the old masters, his face lighting up with a child’s excitement.  We peer closely along with Uzzle as he shows us how to look at a painting as if it were a photograph, finding new meaning in the color black or the chiaroscuro effect of dark and light on a subject’s face.  As for faces, he sees each one as a new frontier, “as deep a frontier as you’re capable of exploring.”

But Tattoo Uprising doesn’t really cater to viewers who aren’t already tatted — and perhaps it shouldn’t be. I would imagine, although I can’t say for sure, that anyone with a heavy interest in tattoos will find depth and significance in this film, but for me, the spine of the narrative is inert. There’s no narrative progression or innate rhythm to the storytelling, and as a result the movie feels more like a casual exploration punctuated by historical tidbits that range from valid to questionable.