Is Joss Whedon’s biggest year ever taking a second lap?
What makes video games brutal is often their most basic premise. If you think too long and too hard about exactly what it is you’re doing, a creeping sensation starts to prickle the back of your mind. If you put yourself in the shoes of your avatar, would you be so gung-ho, would you even be capable of walking out of the front door?
It showcased all of Noble’s best points: the delight in the ludicrous, the ideas tripping over each other to get out and the revelling in how foolish he may look to an audience. And of course The Voice.
Censors save the NC-17 rating for extra special cases, and in practice it feels like much less artificial than, say, PG-13. Something about these films transcended the extremely liberal boundaries of the R rating, and in most cases the reasons are still apparent.
At last, the long-rumored prequel/remake of John Carpenter’s 1982 masterpiece The Thing infects theaters across the country. And I mean that in a good way, because I still hope it will be entertaining, despite persistent pangs of common sense. The trailer, at least, sold it as a pretty faithful re-shooting […]
This week, I join forces with Brett Davinger to chronicle some of the best heists, rip-offs, and holdups ever put on screen. So just sit quietly and keep your hands away from the phone, where we can see them. This won’t take long.
How does Tower Heist look to all you out there? Will it be in-your-face fun from the director of Rush Hour or on-the-nose crud from the director of X-Men: The Last Stand?
An interior “desecrator” who despises the bored super-rich housewives who can afford her services, she lives amongst people for whom money has dissolved away the real world, and takes her revenge by smashing their heads in with the poker which she carries wrapped in a yoga mat.
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.
The circus is a complicated enterprise, and its symbolic value in storytelling has many faces. It may tell of freedom and the charm of living as a nomad and artist. It may speak to the weariness of the road, and the ability of a lifestyle to trap those who do not know how to break free. It may celebrate the solidarity of those cast out from society. Or in the end, it may simply deal with the hideous antics of clowns. In any form, the circus plays upon the most fundamental feelings of wonder and fear, and makes children of us all once again.
It is difficult to describe the feeling that My Dog Tulip leaves in one’s heart once the lights come up. The best answer is that you will probably feel several, which may contradict one another. That, and not really the questionable content, is what makes it a love story for grown-ups.
This week, Julia Rhodes and I (Dan Fields) recall a bygone era, when entertainment for kids – specifically the musical accompaniment – got as much attention and thought as anything produced for an adult audience. It’s not meant strictly to pick on Elton John, but he seems an appropriate figurehead for the rather bland trends in children’s movie music today. This is not your typical twentysomething anti-Disney rant. It is a cry of nostalgic woe, and includes a number of selections from pre-downhill-slide Disney. Please enjoy, and remember some songs you might like to track down and show your own kids.