The large number of reviews comparing Christopher Nolan’s “Interstellar” to Stanley Kubrick’s “2001: A Space Odyssey” is rather perplexing. Sure, both films tell stories involving intergalactic travel, but “Intersellar” is narratively straightforward where “2001” was enigmatic, and Nolan’s focus is on characters where Kubrick’s was on ideas. I do not say this to be dismissive […]
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After his thematically challenging, emotionally taxing first two films, “Shotgun Stories” and “Take Shelter,” one wouldn’t have naturally predicted that budding American auteur Jeff Nichols would next move on to an old-fashioned crowd-pleaser of a boys’ adventure film. But I suppose Nichols needed a break from doom and gloom, just as audiences do, and there
Lee Daniels’ “Precious” was a messy, vaguely impressionistic, swing-for-the-fences coming-of-age film that, against the odds, struck a chord with highbrow awards voters, at least in part due to the perceived social importance of its 1980s Harlem setting and the public support of Oprah Winfrey. Now, Daniels is back with an equally daring work–“The Paperboy”–that will
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“Magic Mike” is certain to disappoint a lot of people. Anyone familiar with Steven Soderbergh knew that his latest work certainly couldn’t be the sexy, slick male stripper fantasy that Warner Bros’ marketing campaign has made it out to be. Those expecting a semi-erotic, amusing romp likely won’t leave satisfied by the 10 minutes or
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In today’s filmgoing climate, audiences are usually forced to choose between challenging works and brain-dead ones, because few productions exist in between the two extremes. This dichotomy is a shame, for it all too frequently results in Joe Schmoe knowingly watching mediocre Hollywood efforts, simply because the searing independent alternatives have a tendency to seem
