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John Maloof and Charlie Siskel’s engaging but problematic doc tells how a chance discovery unearthed a talented but unknown photographer: the late Vivan Maier, an eccentric nanny with a gift for portraiture and a scarcely believable backstory. With her stern manners, intense privacy and odd dress sense, Maier resembled a real-life Wes Anderson character; likewise, her square-framed imagery and hoarded bric-a-brac define the film’s playful aesthetic.
Mostly, it’s a study of an analogue ghost turned digital star; yet because Maloof is vested in building Maier’s reputation, the film leaves some uncomfortable questions about the ethics of posthumous fame.
New Dragon Age: The Veilguard patch adds quality-of-life changes and bug fixes, but more importantly, "Rook's body shape no longer changes unexpectedly"
GTA 6 devs tease that they're working on "absolutely mind-blowing things" and promise "more to come"
From Deadpool and Wolverine to Dune: Part Two, all 10 of the highest-grossing movies of 2024 are sequels – and it's the first time that's happened in at least 50 years
