#George T. Nierenberg

[foxingpeculiar]

Since the only movie I'm watching tonight is 200 Cigarettes, I've got my list of movies I watched for the first time this year. It's a little low (158 instead of the usual +/- 200) but... well, it's been a year.

Property is No Longer a Theft (1973, Ello Petri)

Zola (2021, Janicza Bravo)

The Eyes of Tammy Faye (2021, Michael Showalter)

A Face in the Crowd (1957, Elia Kazan)

Paranormal Activity: Next of Kin (2021, William Eubank)

Paranormal Activity: The Ghost Dimension (2015, Gregory Plotkin)

Paranormal Activity: The Marked Ones (2014, Christopher Landon)

Paranormal Activity 4 (2012, Ariel Schulman & Henry Joost)

The Nun (2018, Corin Hardy)

Hell-Bound Train (1930, Eloyce & James Gist)

Family Plot (1976, Alfred Hitchcock)

The Witch of King’s Cross (2020, Sonia Bible)

Teknolust (2002, Lynn Hershman Leeson)

Giant (1956, George Stevens)

Castle in the Sky (1986, Hayao Miyazaki)

Messiah of Evil (1973, Willard Huyck & Gloria Katz)

House (1986, Steve Miner)

The Taking of Deborah Logan (2014, Adam Robitel)

A Woman is a Woman (1961, Jean-Luc Godard)

Woodlands Dark and Days Bewitched: A History of Folk Horror (2021, Kier-La Janisse)

The Tragedy of MacBeth (2021, Joel Coen)

The French Dispatch of the Liberty, Kansas Evening Sun (2021, Wes Anderson)

Last Night in Soho (2021, Edgar Wright)

Thelma (2017, Joachim Trier)

The Man Who Knew Too Much (1956, Alfred Hitchcock)

Pig (2021, Michael Sarnoski)

In the Earth (2021, Ben Wheatley)

Truman and Tennessee: An Intimate Conversation (2021, Lisa Immordino Vreeland)

9 (2009, Shane Acker)

Chimes at Midnight (1966, Orson Welles)

WeWork, or the Making and Breaking of a $47 Billion Unicorn (2021, Jed Rothstein)

Enemies of the State (2020, Sonia Kennebeck)

A Glitch in the Matrix (2021, Rodney Ascher)

Citizenfour (2014, Laura Poitras)

The Cremator (1969, Juraj Herz)

Angst (1983, Gerard Kargl)

Death on the Nile (1978, John Guillerman)

The Power of the Dog (2021, Jane Campion)

Nightmare Alley (2021, Guillermo Del Toro)

Mirror (1974, Andrei Tarkovsky)

House of Gucci (2021, Ridley Scott)

Free Guy (2021, Shawn Levy)

A Letter to Three Wives (1949, Joseph L Mankiewicz)

Say Amen Somebody (1982, George T Nierenberg)

Poison Ivy (1992, Katt Shea)

The Umbrellas of Cherbourg (1964, Jacques Demy)

Zatoichi (2003, Takeshi Kitano)

Pale Flower (1964, Masahiro Shinoda)

Nobody (2021, Ilya Naishuller)

A Time to Kill (1996, Joel Schumacher)

Murder by Numbers (2002, Barbet Schroeder)

Antlers (2021, Scott Cooper)

Drive My Car (2021, Ryusuke Hamaguchi)

Ready Player One (2018, Steven Spielberg)

Superman II (1980, Richard Lester)

West Side Story (2021, Steven Spielberg)

Licorice Pizza (2021, Paul Thomas Anderson)

The Batman (2022, Matt Reeves)

You Can’t Kill Meme (2021, Hayley Garrigus)

Being the Ricardos (2021, Aaron Sorkin)

Summer of Soul (2021, Ahmir “Questlove” Thompson)

Talk to Me (2007, Kasi Lemmons)

The Night House (2021, David Bruckner)

Here Comes the Devil (2012, Adrián Garcia Bogliano)

Resident Evil: Afterlife (2010, Paul W.S. Anderson)

The Ritual (2017, David Bruckner)

The Bye Bye Man (2017, Stacy Title)

Creep (2014, Patrick Brice)

From Within (2008, Phedon Papamichael)

X (2022, Ti West)

Moonfall (2022, Roland Emmerich)

Dead Man (1995, Jim Jarmusch)

The Purge (2013, James DeMonaco)

Skin: A History of Nudity in the Movies (2020, Danny Wolf)

Caligula (1979, Tinto Brass, Bob Guccione & Giancarlo Lui)

Merrily We Go to Hell (1932, Dorothy Arzner)

The Alchemist Cookbook (2016, Joel Potrykus)

Spoor (2017, Agnieszka Holland)

Cliffhanger (1993, Renny Harlin)

Runaway Jury (2003, Gary Fleder)

A Scanner Darkly (2006, Richard Linklater)

Samurai I: Musashi Miyamoto (1954, Hiroshi Inagaki)

Samurai II: Duel at Ichijoji Temple (1955, Hiroshi Inagaki)

Samurai III: Duel at Ganryu Island (1956, Hiroshi Inagaki)

Mikey and Nicky (1976, Elaine May)

Chip ‘n Dale: Rescue Rangers (2022, Akiva Schaffer)

Everything Everywhere All at Once (2022, Daniel Kwan & Daniel Scheinert)

Men (2022, Alex Garland)

Old (2021, M. Night Shyamalan)

Saint Maud (2019, Rose Glass)

Bernie (2011, Richard Linklater)

Pineapple Express (2008, David Gordon Green)

Voyeur (2021, Myles Kane & Josh Koury)

Girls Just Want to Have Fun (1985, Alan Metter)

Conspiracy Theory (1997, Richard Donner)

Experiment in Terror (1962, Blake Edwards)

The Nightingale (2018, Jennifer Kent)

Leave Her to Heaven (1945, John M. Stahl)

Black Widow (1954, Nunnally Johnson)

The Bob’s Burgers Movie (2022, Loren Bouchard & Bernard Derriman)

Incantation (2022, Kevin Ko)

All Dogs Go to Heaven (1989, Don Bluth)

Nope (2022, Jordan Peele)

House of Bamboo (1956, Samuel Fuller)

Jurassic World: Dominion (2022, Colin Trevorrow)

The Black Phone (2022, Scott Derrickson)

The Presidio (1988, Peter Hyams)

Barbarian (2022, Zach Creeger)

Elvis (2022, Baz Luhrmann)

Vengeance (2022, BJ Novak)

Crimes of the Future (2022, David Cronenberg)

Don’t Worry Darling (2022, Olivia Wilde)

Band of Outsiders (1964, Jean-Luc Godard)

The Slumber Party Massacre (1982, Amy Holden Jones)

Bodies Bodies Bodies (2022, Halina Reijn)

Dead and Buried (1981, Gary Sherman)

Blonde (2022, Andrew Dominik)

Phantasm II (1988, Don Coscarelli)

Hellraiser (2022, David Bruckner)

The Keep (1983, Michael Mann)

Next of Kin (1982, Tony Williams)

The Funhouse (1981, Tobe Hooper)

Dream Demon (1988, Harley Cokeliss)

The Hidden (1987, Jack Sholder)

Prince of Darkness (1987, John Carpenter)

White of the Eye (1987, Donald Cammell)

Halloween (2018, David Gordon Green)

Halloween Kills (2021, David Gordon Green)

Halloween Ends (2022, David Gordon Green)

Terror Train (1980, Roger Spottiswoode)

The House by the Cemetery (1981, Lucino Fulci)

Strange Behavior (1981, Michael Laughlin)

Road Games (1981, Richard Franklin)

Final Destination (2000, James Wong)

Daughters of Darkness (1971, Harry Kümel)

Matango (1963, Ishiro Honda)

Thirst (2009, Park Chan-Wook)

Wolfen (1981, Michael Wadleigh)

The Town That Dreaded Sundown (2014, Alfonso Gomez-Rejon)

Hud (1963, Martin Ritt)

The Dark Corner (1946, Henry Hathaway)

Encino Man (1992, Les Mayfield)

The Good Nurse (2022, Tobias Lindholm)

Son in Law (1993, Steve Rash)

Madame X: An Absolute Ruler (1978, Ulrike Ottinger)

Henri-Georges Cluzot’s “Inferno” (2009, Serge Bromberg & Ruxandra Medrea)

The Blue Dahlia (1946, George Marshall)

Pearl (2022, Ti West)

Amsterdam (2022, David O. Russell)

Memories of Murder (2003, Bong Joon-ho)

Glass Onion: A Knives Out Mystery (2022, Rian Johnson)

The Banshees of Inisherin (2022, Martin McDonagh)

Song of the Thin Man (1947, Edward Buzzell)

Shadow of the Thin Man (1941, W.S. Van Dyke)

RRR (2022, S.S. Rajamouli)

Another Thin Man (1939, W.S. Van Dyke)

Saaho (2019, Sujeeth)

Triangle of Sadness (2022, Ruben Östlund)

[backstreetsbackalright]

Memorable Viewing from 2021

No Maps on My Taps (George T. Nierenberg, 1979)

Bloody Nose, Empty Pockets (Bill Ross IV & Turner Ross, 2020)

Let Your Heart Be Light (Sophy Romvari & Deragh Campbell, 2016)

The Royal Road (2015, Jenni Olson)

Summer of Soul (2021, Questlove)

Light Sleeper (Paul Schrader, 1992)

Married to the Mob (Jonathan Demme, 1988)

Dune (Denis Villeneuve, 2021)

Transit (Christian Petzold, 2018)

Bound (Lana Wachowski & Lilly Wachowski, 1996)

[nomallmovieschicago]

4 September 2017

Film: NO MAPS ON MY TAPS (1979, USA) and ABOUT TAP (1985, USA), both directed by George T. Nierenberg,

Forum: Gene Siskel Film Center  Format: 2K

Observations:  A featurette and a short about the art of tap dancing, filmed in NYC by the director of SAY AMEN, SOMEBODY. The longer film (NO TAPS) proceeds without a narrator other than the cast members, three veteran tap dancers preparing for a show in Harlem. Originally shot for public television, it works well in theatre owing to the excellent fidelity on the soundtrack. About 40 people in attendance.

[lascenizas]

The Last Movie I Watched...

Say Amen Somebody (1982, Dir.: George T. Nierenberg)

[theplaylistfilm]

Attn NYC: @FilmLinc's FREE Summer 50th Mixtape: Free Double Features is awesome. 📽️🎞️🍿

FREE DOUBLE FEATURES

June 27 – Cléo from 5 to 7 (6pm) and The Portrait of a Lady (9pm) July 11 – Two English Girls (6pm) and Mulholland Dr. (8:45pm) July 18 – Come Drink with Me (6pm) and The Assassin (8pm) July 25 – The Leopard (6pm) and Happy as Lazzaro (9:30pm) August 1 – Stalker (6pm) and High Life (9:15pm) August 8 – School Daze (6pm) and Sorry to Bother You (8:30pm) August 15 – Nocturama (6pm) and Burning (8:45pm) August 22 – demonlover (6pm) and Elle (8:45pm) August 29 – Velvet Goldmine (6pm) and Her Smell (8:30pm) September 5 – Three Times (6pm) and Moonlight (8:30pm) September 11 – Audience Choice! (Voting to launch June 27.)

More details

Plus...

SUMMER 2019 NEW RELEASES

June 21

Toni Morrison: The Pieces I Am Timothy Greenfield-Sanders, USA, 2019, 119m With the peerless style and rich perspective on Black America she brought to such acclaimed novels as Beloved, The Bluest Eye, and Song of Solomon, Toni Morrison has earned a reputation as one America’s greatest living writers. Toni Morrison: The Pieces I Am is an artful and intimate documentary about Morrison’s life and work—from her working class upbringing in Lorain, Ohio, and her 1970s-era book tours with Muhammad Ali, to the front lines with Angela Davis and her own riverfront writing room—and the countless people she has inspired. Featuring interviews with Oprah Winfrey, Angela Davis, Hilton Als, Fran Lebowitz, and Morrison herself. A Magnolia Pictures release.

Filmmaker in person opening weekend!

June 28

The Plagiarists Peter Parlow, USA, 2019, 76m Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir, The Plagiarists is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, The Plagiarists is a work whose provocations are inseparable from its pleasures. A 2019 New Directors/New Films selection. A KimStim release.

Filmmakers in person opening weekend!

July 12

Rojo Benjamín Naishtat, Argentina/Brazil/France/Netherlands/Germany/Belgium/Switzerland, 2018, 109m English and Spanish with English subtitles In mid-’70s Argentina, at the height of that country’s infamous Dirty War, Claudio (Darío Grandinetti) is a well-heeled, cool-headed lawyer living with his wife and teenage daughter in a comfortable provincial suburb. When an innocuous dinner date ends in a startling altercation with a stranger, Claudio’s apparently placid lifestyle is disrupted, and fault lines begin to appear in the frictionless surface of his professional and domestic existence. What follows is a brooding, warm-hued fugue, where political calculations, economic stratagems, and tenuous social mores are played out with slow-burning ferocity against a harmonic bassline of barely repressed indignation and simmering paranoia. A Distrib Films release.

August 2

La Flor Mariano Llinás, Argentina, 2018, 803m (screening in 4 parts) A decade in the making, Mariano Llinás’s follow-up to his 2008 cult classic Extraordinary Stories is an unrepeatable labor of love and madness that redefines the concept of binge-viewing. The director himself appears at the start to preview the six disparate episodes that await, each starring the same four remarkable actresses: Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. Overflowing with nested subplots and whiplash digressions, La Flor shape-shifts from a B-movie to a musical to a spy thriller to a category-defying metafiction—all of them without endings—to a remake of a very well-known French classic and, finally, to an enigmatic period piece that lacks a beginning (granted, all notions of beginnings and endings become fuzzy after 14 hours). An adventure in scale and duration, La Flor is a marvelously entertaining exploration of the possibilities of fiction that lands somewhere close to its outer limits. An NYFF56 selection. A Grasshopper Film release.

Filmmaker in person opening weekend!

Part 1: 203m / Part 2: 188m / Part 3: 205m / Part 4: 207m

Parts 1 & 2 screen August 2-8 and parts 3 & 4 screen August 9-15; check filmlinc.org for more details.

Piranhas / La paranza dei bambini Claudio Giovannesi, Italy, 2019, 112m Italian with English subtitles The latest from Claudio Giovannesi (Fiore) is this singular coming-of-age story that won the Silver Bear for Best Screenplay at the Berlin Film Festival. Newcomer Francesco Di Napoli stars as 15-year-old Nicola, who leads a pack of cocksure hellions captivated by the lifestyle of the local Camorra as they descend into the violent, paranoid world of Naples’s dominant crime group. Based on the novel by Roberto Saviano, who co-wrote the screenplay and mined similar territory in his devastating Gomorrah, Piranhas is a haunting reflection on doomed adolescence. A 2019 Open Roads selection. A Music Box Films release.

August 16

What You Gonna Do When the World’s on Fire? Roberto Minervini, Italy/USA/France, 2018, 123m Italian-born, American South–based filmmaker Roberto Minervini’s follow-up to his Texas Trilogy is a portrait of African-Americans in New Orleans struggling to maintain their unique cultural identity and to find social justice. Shot in very sharp black and white, the film is focused on Judy, trying to keep her family afloat and save her bar before it’s snapped up by speculators; Ronaldo and Titus, two brothers growing up surrounded by violence and with a father in jail; Kevin, trying to keep the glorious local traditions of the Mardi Gras Indians alive; and the local Black Panthers, trying to stand up against a new, deadly wave of racism. This is a passionately urgent and strangely lyrical film experience. An NYFF56 selection. A KimStim release.

August 23

Genesis Philippe Lesage, Canada, 2018, 130m French with English subtitles Following his autobiographical 2015 narrative debut The Demons, Philippe Lesage continues to chronicle the life of young Felix (Édouard Tremblay-Grenier), now diverging to capture the romantic trials and tribulations of two Quebecois teen siblings. While the charismatic, Salinger-reading Guillaume (Théodore Pellerin) wrestles with his sexual identity at his all-boys boarding school, the more ostensibly grown-up Charlotte (Noée Abita) discovers the casual cruelty of the adult world that awaits her post-graduation. Lesage and his young actors depict the aches of becoming oneself with nuance, honesty, and compassion, and the result is one of the most beautiful coming-of-age stories in years. A 2019 New Directors/New Films selection. A Film Movement release.

August 30

The Load Ognjen Glavonić, Serbia/France/Croatia/Iran/Qatar, 2018, 98m Serbian with English subtitles Ognjen Glavonić’s wintry road movie concerns a truck driver (Leon Lucev) tasked with transporting mysterious cargo across a scorched landscape from Kosovo to Belgrade during the 1999 NATO bombing of Yugoslavia. A companion piece to the director’s 2016 documentary Depth Two, The Load is a work of enveloping atmosphere that puts a politically charged twist on the highway thrillers it recalls: Henri-Georges Clouzot’s The Wages of Fear and William Friedkin’s retelling, Sorcerer. The streamlined premise gives way to a slow-dawning reckoning, in which implications of guilt and complicity slowly but surely sink in. A 2019 New Directors/New Films selection. A Grasshopper Film release.

September 6

Say Amen, Somebody George T. Nierenberg, USA, 1982, 101m One of the most acclaimed music documentaries of all time, Say Amen, Somebody is George T. Nierenberg’s exuberant, funny, and deeply moving celebration of 20th-century American gospel music. With unrivaled access to the movement’s luminaries, Thomas Dorsey and Mother Willie Mae Ford Smith, Nierenberg masterfully records their fascinating stories alongside earth-shaking, show-stopping performances by the Barrett Sisters, the O’Neal Twins, and others. As much a fascinating time capsule as it is a peerless concert movie, Say Amen, Somebody returns to Film at Lincoln Center in a gorgeous 4K restoration by Milestone Films, with support from the National Museum of African American History and Culture. An NYFF20 selection. A Milestone Films release.

New releases are organized by Dennis Lim and Florence Almozini.

More details, tickets and more.

[aaroncutler]

December 10: The link above leads to Portuguese-language information about the 11th edition of the Mutual Films Session, and the first to be realized online, once again hosted and sponsored by the Instituto Moreira Salles.

An observer could argue that it is the event’s 12th edition, as the screenings planned for March of 2020 (consisting of a double-bill of On the Bowery and Une simple histoire) were canceled the week before their scheduled dates. As was the case for so many cultural spaces around the world this year, COVID-19 brought the Instituto’s activities to a hard and sudden close, forcing doors shut on art exhibitions, panel talks, and other live events together with film screenings. Though museums and cultural centers have largely reopened in Brazil during the past months, they have continued to operate with severe restrictions. The state of film exhibition here has essentially not changed since my comments last month on this blog on the matter, and it includes the decision by IMS’s Cinema department not to reopen the Instituto’s theaters in São Paulo and in Rio de Janeiro before next year.

Mariana Shellard and I have chosen to respond to the current moment with an online event consisting of two programs of short and medium-length films, with each program lasting under an hour. The films will be made available through IMS’s Vimeo account from December 11th to 17th, with free entry for each program’s first five thousand viewers (promo code MUTUAL) and access restricted to the Brazilian territory. Program 1 is a jazz-and-movement-themed outing consisting of George T. Nierenberg’s About Tap, Shirley Clarke’s Bridges-Go-Round (the version with Teo Macero’s jazz score, rather than the one with Bebe and Louis Barron’s electronic music score), and Charles Burnett’s When It Rains. Program 2 offers a pairing of equally musical and emotionally moving, singular works – Kathleen Collins’s The Cruz Brothers and Miss Malloy and Ronald K. Gray’s Transmagnifican Dambamuality. The Mutual Films website additionally counts with short new video interviews with Burnett and Nierenberg about their films, as well as brief video introductions by the daughters of the late Clarke and Collins.

We believe that Nierenberg, Clarke, and Burnett are among the most vital artists that the American cinema has ever produced, and that they deserve to be better known and to have been able to create more regularly. We also believe that Collins and Gray, whose directorial filmographies consist of three extant films in total, could have been essential figures in film history if they had been able to direct more work. As things stand, we are blessed for what we have.

The five films are all productions from the United States, realized on small budgets and with independent spirits. They also all pertain to the same distributor, Milestone Films, whose commitment to bringing little-known or forgotten films and artists into circulation (and consistently doing so in screening copies of sterling quality) has distinguished the company for over 30 years. At a time when different factors have rocked the industry of cinema into transformation, the passion of individuals to push humanist, small-scale cinema into the world remains an empowering historical constant. We expect for that passion to continue to survive and to find its way forcefully through changing times.

[abetheone]

Say Amen, Somebody Receives 4K Restoration in Theaters | Chaz's Journal

Say Amen, Somebody Receives 4K Restoration in Theaters | Chaz’s Journal

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by Chaz Ebert

September 17, 2019   |  

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“Say Amen, Somebody,” George T. Nierenberg’s 1983 documentary about the birthplace of some of the most iconic American gospel music is now receiving a limited theatrical run, and I cannot imagine a better remedy for our current divisive times. In his ecstatic four-star review, my late husband Roger hailed it as “the most joyful…

[whileiamdying]

The new 4K restoration of Say Amen, Somebody is now playing at Film at Lincoln Center. To celebrate, on opening night, Songs of Solomon Choral Union/Pneumatica presented a special a cappella gospel performance. The screening was followed by a Q&A with director George T. Nierenberg, choir director Bishop Chantel Wright, and cinematographers Ed Lachman and Don Lenzer. Get tickets for the restoration: https://www.filmlinc.org/sayamen One of the most acclaimed music documentaries of all time, Say Amen, Somebody is George T. Nierenberg’s exuberant, funny, and deeply moving celebration of 20th-century American gospel music. With unrivaled access to the movement’s luminaries, Thomas Dorsey and Mother Willie Mae Ford Smith, Nierenberg masterfully records their fascinating stories alongside earth-shaking, show-stopping performances by the Barrett Sisters, the O’Neal Twins, and others. As much a fascinating time capsule as it is a peerless concert movie, Say Amen, Somebody returns to Film at Lincoln Center in a gorgeous 4K restoration by Milestone Films, with support from the National Museum of African American History and Culture and The Academy Film Archive. An NYFF20 selection. A Milestone Films release. Film at Lincoln Center is dedicated to supporting the art and elevating the craft of cinema and enriching film culture. Film at Lincoln Center fulfills its mission through the programming of festivals, series, retrospectives, and new releases; the publication of Film Comment; the presentation of podcasts, talks, and special events; the creation and implementation of Artist Initiatives; and our Film in Education curriculum and screenings. Since its founding in 1969, this nonprofit organization has brought the celebration of American and international film to the world-renowned arts complex Lincoln Center, making the discussion and appreciation of cinema accessible to a broad audience, and ensuring that it remains an essential art form for years to come. More info: http://filmlinc.org/ Subscribe: http://www.youtube.com/subscription_center?add_user=filmlincdotcom Like: http://facebook.com/filmlinc Follow: http://twitter.com/filmlinc

[karthick0587]

via Entertainment News http://ift.tt/2sQUAP6 George T. Nierenberg's 1979 performance doc, 'No Maps on My Taps,' stages a dance-off between three tap veterans.

read more

[24movieworld]

'No Maps on My Taps': Film Review

George T. Nierenberg's 1979 performance doc 'No Maps on My Taps' stages a dance-off between three tap veterans.

read more

from Blogger http://ift.tt/2tSfpcy

[domino-chan]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/

[toebeeeans]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/

[sea-nerd-studies]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/

[that-jack-o-lantern-guy]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/

[maris-sa]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/

[ohermione]

'No Maps on My Taps': Film Review

2:11 PM PDT 7/7/2017 by John DeFore George T. Nierenberg’s 1979 performance doc stages a dance-off between three tap veterans. Three aging but still-limber tap dancers show youngsters where it’s at in George T. Nierenberg’s loving doc No Maps on My Taps. Released in 1979, when interest in the art form was at a low […]

The post 'No Maps on My Taps': Film Review appeared first on Information Overload News.

from Information Overload News http://www.informationoverload.news/no-maps-on-my-taps-film-review/