David D’Arcy

David D’Arcy writes about film, art and other topics. He is a correspondent for The Art Newspaper, a critic for Screen International, and a frequent contributor to the San Francisco Chronicle. He is co-writer and co-producer of Portrait of Wally (2012), a feature documentary about a painting stolen by the Nazis that was found at the Museum of Modern Art in New York. He has been a programmer at the Haifa International Film Festival for ten years.

Christopher Nolan's war film Dunkirk is outperforming superhero films at the box office. It's playing at the Violet Crown; David D'arcy says it's good, just not good enough.

The Little Hours takes you to a medieval convent with frustrated nuns and a servant who addresses their needs. It’s a satire and a sex comedy, and it’s playing at the CCA. David D’Arcy says it’s a lot of fun.

Last week, arts-and-crafts superstore Hobby Lobby was reported to have illegally acquired thousands of artifacts from Iraq. The items arrived mislabeled as “tile samples.” As a result, Hobby Lobby faces federal prosecution and fines. 

Ellen Berkovitch spoke to KSFR's arts correspondent David D’Arcy for more.

The documentary Monterey Pop, restored and in theaters, looks and sounds far better at fifty than much of anything else that age. David D’Arcy has this review.

The Hero, with Sam Elliott, is about icons and aging. It’s also about the American West. It opens Friday at the CCA and David D’Arcy has this review.

Long Strange Trip, the new four-hour documentary about the Grateful Dead, is shorter than most Grateful Dead concerts in the band’s golden era. It plays tonight at the Lensic, presented by the CCA. David D’Arcy has this review.

In The Lovers, the problem of adultery in a wilted marriage is treated with more adultery—between spouses. Debra Winger's comeback is showing at the Violet Crown, and David D’Arcy has this review.

Citizen Jane: Battle for the City is a documentary about a scholar and an urban warrior, Jane Jacobs, who died last year. David D'Arcy brings us this review.

Performance artist Chris Burden, who died of natural causes two years ago, became famous when he had himself shot on camera with a rifle. The documentary film Burden follows the career of the man who was called the Evel Knievel of art.

It’s playing at the CCA. David D’Arcy has this review.

Jonathan Demme, who directed modern classics like The Silence of the Lambs and Philadelphia as well as the Talking Heads' landmark concert film Stop Making Sense, died this week at the age of 73 after over 40 years of filmmaking. David D’Arcy remembers him as a director who moved from the independent scene to Hollywood, and made cinema out of many different elements.


Universal Pictures

"The Fate of the Furious" is volume 8 in the "Fast and the Furious" franchise, a concept that always risks running out of gas. It’s playing at the Violet Crown. That risk is still there, but David D’Arcy says there’s at least one new twist this time.

Frantz, a French film that’s opening at the CCA, is set in the years after World War I, which killed a generation of German and French men. Young war widows were forced to start their lives again. Frantz, set in Germany, is one of those stories. David D’Arcy has this review.

I Called Him Morgan is a stylish and sad documentary about the life—and mostly the death—of the best jazz musician you probably never heard of. It’s playing at the CCA. David D’Arcy has this review.

CORRECTION: The review states that Helen Morgan died in 1976; she actually died in 1996.


The Church of Scientology is an organization that does not want outsiders to view it too closely or too critically. 

That’s exactly what the BBC journalist Louis Theroux tries to do. The result is the meandering and comic and troubling My Scientology Movie. It’s playing at the CCA.  David D’Arcy has this review.


In the new film Get Out, a black man visits his white girlfriend’s parents — and almost ends up on a dissection table. It’s a horror film — and it’s one of the most popular movies out now. Get Out is at the Violet Crown. David D’Arcy has this review.