“Restrepo” is the real-life war movie. It’s so raw and spontaneous that we can’t help but be moved by witnessing what it’s really like to be an American soldier in Afghanistan.
It is not too surprising that Hollywood would be on the vanguard of those advocating for societal acceptance of homosexual couples. After all, anything goes in Tinseltown, where hedonism is good publicity, and no marriages last for very long, anyway, no matter which genders are involved.
“Inception” is one of those clever, suspenseful movies that delight the sci-fi-techno crowd, but is truly frustrating to the more linear thinkers, who want their story lines clean, clear, and chronological.
“The Sorcerer’s Apprentice” may borrow from a lot of recent fantasy tales, but it’s kid-friendly, interesting, well-cast, and funny, which is a winsome combination for any movie.
“Winter’s Bone” is one of those slice-of-life films that transport the viewer to another place and point of view. It’s set in present-day rural Missouri, but it feels like the back-country Ozarks of another era.
Sequels are always more difficult than originals. What begins as a fresh idea becomes, in the re-warming, a kind of cinematic leftover. It just doesn’t tantalize the taste buds any more.
“Despicable Me” is the animated film whose plot is a mix of “Up,” “Scrooge,” and “Annie:” irascible old man named Gru (the voice of Steve Carrell) shows us how mean he is by driving a tank down the street and brushing other vehicles aside.
I saw this movie in the company of an eight-year-old boy, whose one-sentence review was, “Best movie ever!” Since he’s the perfect target audience, the following remarks should be taken in that context:
“Toy Story 3” is just a delight. It’s clever, well-thought-out, and supplies just the right combination of story line, humor, and slight twist at the end.
It’s easy to see why Stephanie Meyer’s “Twilight” series is so rampantly successful. She creates a tension in all her characters that makes them all show internal dynamism, and external movement. They’re all headed somewhere, so the character development is always in a state of flux, which drives the plot forward. It’s all about the triangles.
I watched this film in the company of an eight-year-old boy, probably the ideal target audience, whose one-word commentary was “Awesome!” All of the following remarks should be taken in that context.
“Please Give” is a quirky little story (written and directed by Nicole Holofcener) about a couple of families living in apartments next to each other, somewhere in New York City.
There’s no fool like an old fool. Ben Kalmen (Michael Douglas) is a mature single man who exudes confidence and success; but going to the doctor and hearing the grim diagnosis bursts his invincible bubble. In fact, it made something important snap within him.
“Raunch” comedy has become a genre all its own, with a life of its own. But after you do the scatological language, the juvenile sexual histrionics, the casual nudity, and the even-more-casual drugs, then what? Is it time now to have an actual story?
This movie is “Lawrence of Arabia” meets “Raiders of the Lost Ark”, or, if you prefer, Ishmael takes Abraham’s blessing from Isaac, but it looks more like Aladdin with a magic knife instead of a magic carpet.
At one level, leaving letters from the lovelorn stuck in the wall of a courtyard in Verona, Italy, which is supposed to represent the fictional balcony in Shakespeare’s “Romeo and Juliet,” is beyond pitiful.
Yes, “Death At A Funeral” is a literal re-make of a British film released only three years ago. But as one local promoter put it, “No, it’s not the same movie, because now you have black people on the screen.”
