David Koepp’s “Premium Rush” is as meat-and-potatoes as action pictures get, though such a masculine descriptor seems ill-fitted for a movie about a guy who uses a bicycle, not a muscle car, as his main method of transportation. That said, Wilee (Joseph Gordon-Levitt) is manlier than your average tights-donning, butt-waving weekend cyclist; he sports plain […]
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As wildly fantastical versions of the world featuring kung-fu pandas, dueling monsters and aliens, and talking insects have become the primary domain of the children’s film, the more grounded magic realist fable has all but faded into oblivion. Only the legendary Japanese animator Hayao Miyazaki still regularly indulges the style, and even his work has
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“Lawless,” an ultra-violent gangster tale by John Hillcoat (“The Proposition,” “The Road”), is a textbook example of why the final act of a film is its most important. Movies that start off poorly have the potential to rebound, gaining the audience’s trust and respect with future developments. The ones with weak midsections can often be
Few American presidents have inspired as much dissonance in public perception as Barack Obama. Political junkies and ordinary citizens alike are highly accustomed to the wide range of terms used to characterize the current Commander-in-Chief — from visionary to bumbling buffoon, post-racial uniter to race-baiter, bold terror warrior to scheming capitulator, socialist to corporate stooge,
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Since its inception in the early 1990s with Robert Rodriguez’ “El Mariachi,” the do-it-yourself filmmaking movement has been roundly celebrated by the entertainment media. Indeed, micro-budget films that have blossomed into full-fledged Hollywood hits, from “The Blair Witch Project” to “Napoleon Dynamite,” offer compelling narratives of the little guy seizing upon the promise of capitalism,
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“Expect the expected” could be the tagline to “The Expendables 2,” the loudest, shootin’-ist film of the summer. This sequel to Sylvester Stallone’s 2010 fanboy action epic finds a nearly identical cast doing nearly identical things. And while that may sound like a damning critique, it isn’t. Also in the vein of its predecessor, “The
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In future years, “Sparkle” will be remembered as Whitney Houston’s final bow before audiences — a legacy that, while technically accurate, will be somewhat misleading in that the late singer-actress only plays a supporting role (and a cookie-cutter one at that). She gets one big song to herself, which seems disconnected from the rest of
Even the most vocal detractors of David Frankel’s “Hope Springs” must recognize the miracle of the film’s existence. This is a studio-funded production about the sex lives of old people that is neither an Oscar-hungry downer nor an outrageous farce. It approaches an issue that affects married couples over 40–hardly Hollywood’s target demographic–honestly and empathetically.
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One moment of quiet solitude stands out amongst all the kinetic action sequences and globetrotting theatrics that have defined the Jason Bourne trilogy up to this point: a man’s lifeless body floats in the ocean, captured in low angle by a submerged camera and backlit by brilliant moonlight. It’s a shot that represents the fragility
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Director Jay Roach’s “Game Change,” which aired on HBO earlier this year, ranks among the most blockheaded political movies ever made. Without so much as smirking, Roach and writer Danny Strong ask the viewer to accept the impossible proposition that Vice Presidential candidate Sarah Palin was so ill-informed when she joined the McCain campaign that
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