“America” is conservative author Dinesh D’Souza and filmmaker John Sullivan’s de facto sequel to “2016: Obama’s America,” their hit 2012 political film that became the second-highest grossing documentary of all-time but failed to thwart the president’s reelection. If that movie’s objective (other than profit, of course) was to unseat a sitting president, this one aims for something […]
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“Edge of Tomorrow” could (half-) jokingly be titled “Groundhogs and Aliens,” but that doesn’t mean one should take it lightly. Tom Cruise’s latest would-be blockbuster is the kind of summer movie we need more of but see progressively less of, an elaborate actioner with a brain that combines its special effects with a story that
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“X-Men: Days of Future Past” is, pardon the pun, a marvel of comic book franchise filmmaking. It’s not only a strong (possibly the best) entry into the “X-Men” line, but one that carries all of the emotional and thematic weight of the series with it, turning the previous installments into the cars of a freight
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It was in 2001 that America met the Subservient Chicken, a massive creature of the avian variety that lived to cluck, peck seed from the ground with his giant beak, and take orders. No matter how outlandish, the Subservient Chicken was up to the task. Want to see him jump rope? He liked the exercise.
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Last year, writing about Arnold Schwarzenegger’s then-latest film, I wrote, “‘The Last Stand’ isn’t an action movie, a comedy, a crime thriller, or a Western. It’s an Arnold, the smallest genre in cinema. Arnold Schwarzenegger is arguably the only post-silent era actor whose participation mandates that a film be thought of as something other than
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Bret Easton Ellis recently declared 2013 the worst year in the history of cinema. If that’s true, I didn’t notice. For months, I’ve walked out of film after film, saying to myself or whoever I was with, “Well, that’s a potential top 10 candidate,” so pleased I was with what I just saw. When the
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Peter Berg’s “Lone Survivor” is an interesting war film in that it celebrates America’s elite warriors while also demythologizing them. As much as some critics have questioned the film’s often jingoistic tone, they also often neglect to recognize that with its celebration of its heroes comes a depiction of their frailties. After Berg takes the
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“Jackass Presents: Bad Grandpa” is the first film to bear the “Jackass” name that doesn’t open with a disclaimer. It’s perhaps a sign of the gang’s aging, particularly on the part of frontman Johnny Knoxville, that their new film is light on potentially deadly stunts. Knoxville and Co. (actually, minus much of the Co., though
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“Escape Plan” is the first film to feature both A-list ’80s action gods, Arnold Schwarzenegger and Sylvester Stallone, in starring roles. Forget the action-fantasy “The Expendables” and its sequel; those were Stallone’s films. Here, the two share top billing and a nearly equal amount of screen time. And it’s with that shared time one can
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“The Disaster Artist” is the story of how the lives of two men were determined by an intense, bizarre friendship. Readers, of course, will flock to this book expecting the inside story of the making of “The Room,” the 2003 cult film that ranks among the most dreadful, unintentionally hilarious movies ever made. Those searching
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