Parental discretion advised
The Hunger Games and 21 Jump Street have very different views of today’s youth.
The Hunger Games and 21 Jump Street have very different views of today’s youth.
Being Elmo is a sweet look at the man and the Muppet
The Academy Award-nominated film gets audiences ready for Valentine’s Day
‘Tinker Tailor Soldier Spy’ shows the boring side of espionage, whilst never being boring
‘Don’t Be Afraid of the Dark’ and ‘The Debt’ owe much to styles long past, but offer a ray of hope for the future.
‘Horrible Bosses’ isn’t horrible, but it’s not moving up the corporate ladder either.
Two very different films divide the lines between humanity. Our solution? Mash up.
Doris Duke Theater’s cinema showcase ends with a spectacle of magical realism.
Horror auteur Takeshi Miike tones down the gore and disturbing imagery and makes a surprisingly accessible martial arts film with 13 Warriors.
For some, African Cats is too intense; for others, it’s too contrived. But for a few, it’s just right.
Source Code is, indeed, one smart film, the rare kind that doesn’t coddle its audience with flashbacks to what happened five minutes ago (just in case we weren’t paying attention), or lingering camera holds on a seemingly insignificant piece of equipment, meaning it must come in handy later. The story-line even includes a few red herrings for the jaded amongst us; and, seeing how I’m more jaded than most when it comes to sci-fi as of late, I have to admit I fell for the bait at least once. The difference in this case was how pleased I was when I discovered I was wrong. But more on that later.
Where’s the line between PG-rated fetishism and R-rated titillation, exploitation verses empowerment? I couldn’t answer heady questions such as these, and with a movie as patently stupid as Sucker Punch, I wouldn’t want to.
The anomaly of the Oscar season is that while the majority of us sits down to celebrate the best films of the past year, Hollywood tries to sneak some of the worst films in their coffers past us, the viewers.
In the flurry of speculation on Oliver Stone’s sequel to Wall Street, there was the one who got away: a small but surprising documentary hosted by the man famous for pushing buttons.