Place, in literature, is often the most complex of characters, boasting variable backdrops with tones and textures of every mood imaginable—windswept cliffs, checkered floors, twisted roads and rivers, cobwebbed attics, portentous slants of light and so on down the centuries.
One common complaint I’ve read is that The Hangover Part II is beat-by-beat the same movie as the first one. There’s a reason for this. The Hangover Part II is beat-by-beat the same movie as the first one, right down to the mid-movie Ed Helms song lamenting their situation.
It is the daily struggle of life that blights the lives of Russell’s protagonists. Ill-health and empty wallets are a greater danger than a Cheyenne raid. For Doc Holliday, the enemy is tuberculosis, a cruel, cunning disease that truly consumes him, body and — steadily, stealthily — soul. During a brief period of remission, Doc rides out to the surrounding prairie and experiences an epiphany of what life, during a good spell, can offer.
Putting animal antics into movies is a perennially popular way to cobble up a goofball family comedy on short notice. This is a distinctly separate practice than merely animating creatures from scratch, which has produced its own wonderful results in the past. Nowadays, however, the line between the two is blurring at an alarming rate, so much so that it scarcely seems worth the trouble of getting real animals to be in live-action movies at all. The increasing intrusion of computer generated animal behavior is really beginning to mar the magic.
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Here we are, leading into blockbuster season 2011, and the best thing one can say about the fourth Pirates flick is, well, Academy darlings need paychecks too. The last movie, At World’s End, was four years ago. That film left us with a sentimental ending that ought to have finished the series.
Yep, this is still happening. Still. When I saw the first Pirates of the Caribbean movie, Curse of the Black Pearl, and I was so charmed I dragged my friends to go see it at the second-run theater. They were equally amused and enthralled. It was swashbuckling, silly, romantic, and…well, […]
The production focuses its energies on exposing its illusion-making apparatuses to such an extent that the creaks and cranks of its pulleys and the nonchalant all-female run crew become the focal point of the play. When Prospero declares “I abjure this rough magic” in the final act, Shakespeare’s poetry is imbued with an unexpected shade of meaning because theater itself is shown as a failed contrivance bereft of illusory magic.
The weakest of the major networks, NBC is the first of the four to release their 2011-2012 schedule. Instead of waiting for Monday, the Comcast-owned Peacock Network sent out the information this Sunday leading bloggers to offer comments and predictions based on series they’ve seen less than a minute of, […]
The Resident is nicely paced, moodily presented, eerily scored and based upon a very creepy idea. As a rather by-the-book thriller, it satisfies on many levels. If the characters are nothing new, at least the structure has some less familiar kinks. By revealing Max’s true nature early on (to the audience, and not to Juliet), the movie switches abruptly from a creepy mystery to a dread-heavy thriller. Instead of discovering the danger along with Juliet, viewers are given a little head start, so that they are already yelling, “Get out of there!” just as Juliet is starting to feel at home.
The shepherds look up in bewilderment at the announcing angel whose golden halo, rose-pink robes, and orangey-bronze wings seem to glow. Surely, this is what a supernatural visitation should look like. And yet the effect of nocturnal shadow shows the painter to be as interested in earthly experiences as heavenly ones – here already is the keenly observational eye of the Renaissance.