Michael Moore is at it again. He’s taking his 60-Minutes-style exposé and this time turning his camera on the corporate giants (Citibank, etc.) who got us in a financial crisis and took the billions of government bailout to finance executive bonuses. Or so Mr. Moore would have us believe.
“Fame” is the kind of musical that just begs to be re-made. The premise, back in 1980, was to showcase some of the most talented high school students from the New York Academy of Performing Arts, and that movie launched the career of Irene Cara, as well as spawning a television show that lasted several seasons.
There is nothing unexpected in “Post Grad.” It’s a predictable, cute, reserved, little romantic comedy that breaks no new ground. But what’s wrong with that?
This is one of those kid-oriented films where the adults are dorky, disinterested, or distracted, which leaves the important things up to the children.
We all know the formula to a romantic comedy before we ever enter the theater: boy meets girl, they have a rocky relationship with many bumps along the way, but eventually find love.
Presumably, you don’t even have to acknowledge anymore the borrowed idea of the appearance of three ghosts: Past, Present, and Future, or cite “The Christmas Carol,” or give any reference to Charles Dickens or his estate or his descendants.
Based on a true story, “The Soloist” is about Steve Lopez (Robert Downey Jr.), a Los Angeles columnist, encountering a homeless man with a violin, and being unexpectedly moved by the technique, and the passion, of the musician.
C’mon, admit it, the thought has occurred to you that you’d like to be 17 years old again. Maybe this time you’d try out for the track team, just to see what would happen.
