Ever wonder how that goon of a man became the Great and Powerful “Wizard” of Oz behind the green curtain all the way back in the original 1939 hit musical? Yeah, don’t think you were the only one who didn’t care.
In horror flicks, we’ve all seen the classic 911 call. What we never see is the other end of the line. The Call takes us into one of the largest 911 call centers in Los Angeles and shows the fear that can come from those who are answering these calls.
War has always been a favorite subject of filmmakers, both for the great stories that can arise from it and because it sells.
In many ways, Cher Horowitz (Alicia Silverstone) is anything but clueless: She can put together a totally kickin’ outfit (with the help of a computerized closet organizer, of course). She knows exactly how to convince a stubborn teacher to raise her grade (help him fall in love, obviously). And she has a talent for making snarky comebacks (“Shouldn’t you go to school on the East coast?
“Don’t it always seem to go, that you don’t know what you’ve got ‘til it’s gone?” Joni Mitchell asked in her 1970 single “Big Yellow Taxi.” Mitchell may have been singing about paving paradise to put up a parking lot, but her message applies just as well to the way in which we, as a society, tend to approach pop culture.
Before the time of Facebook and Twitter, of rip-off 3-D films and BlueRay, of Miley Cyrus and Taylor Swift, there were the ’90s.
With romantic comedy after romantic comedy promoting casual relationships, it seems that our films have crept into our real-life relationships and gotten in the way of this little thing called “love.”
If you are looking for a poorly-done college adapted version of The Hangover, then look no further and go buy your ticket for 21 and Over immediately.
While the fantasy genre is alive and kicking, however, many of its offspring are not. Jack the Giant Slayer displays all the trappings of a engaging epic, but none of the fun or charm.
The recent Oscar winning animated short Paperman succeeds in illustrating a delightful tale about two people brought together in the most unusual of ways.
The Paramount Theater chose the perfect lazy Sunday afternoon movie to showcase this past weekend. Rob Reiner’s classic film The Princess Bride tells a story within a story, as it opens with a grandfather reading his (somewhat) bratty grandson a fairy tale, which becomes the main plotline for the rest of the film.
In my book, Melissa McCarthy can do no wrong. From her breakout gig in Bridesmaids to her most recent role as a big-haired Florida swindler in Identity Thief, McCarthy has proven that brazen bodily humor can actually work.
The joie de vivre embodied by French filmmakers — especially during the silent era and the dawn of the New Wave — has profoundly altered the course of cinematic history.
Slopping through the trash-heap that is action cinema, 1988‘s Die Hard is one of the very few precious jewels that can be found.
When I walked into newly released romance film Safe Haven I didn’t have high expectations by any standard, so I wasn’t surprised when the film turned out to be exactly like every other Nicholas Sparks inspired movie — ridden with clichés and marked by low-quality plot development.
This is 40 is the sequel to 2007’s Knocked Up, except, this time, Pete (Paul Rudd) and Debbie (Leslie Mann) try to navigate the complications of turning 40, years after the events of Knocked Up. In pop culture today, the mid-life crisis has become an accepted reality, and sometimes even an indulgence or a moment of spiritual transition.
January is deemed by most to be the worst month for cinema, and Tommy Wirkola’s dark fantasy-thriller Hansel and Gretel: Witch Hunters doesn’t help the month’s case.
Zombie movies are overdone. You can only take a zombie premise so far, and lately this tired genre, like its antagonists, has been a largely brain-dead affair.
Few films grab my attention for a full two hours, but The Impossible accomplishes this feat with ease.
Every once in a while, a foreign art house film comes along and manages to break into the mainstream movie market.
