Can we just have Pixar make every movie? The animation studio is at it again with Toy Story 3, yet another creative triumph that offers everything the rest of the summer's big-budget extravaganzas do not: multifaceted characters, adventurous filmmaking and an emotionally involving story that is surprisingly dark and intense.
Why can't Sam Rockwell find a movie that fully takes advantage of his singular talents?
Long one of our most expressive, instinctual and interesting actors, the 42-year-old Rockwell has added spice as a supporting player in a string of high-profile studios movies (Iron Man 2, Everybody's Fine, Frost/Nixon, Matchstick Men, Charlie's Angels and The Green Mile, among others) and has been compelling as a central figure in a handful of smaller films (Choke, Joshua, Confessions of a Dangerous Mind, Lawn Dogs and Box of Moon Light).
Richard Kelly’s Donnie Darko might be the cult film of the new millennium.
The young auteur’s moody opus struggled to find an audience amid a post-9/11 climate that apparently had little patience for the film's head-scratching, reality-shifting narrative and apocalyptic overtones — it received a limited theatrical release about a month after the terrorist attacks and quickly faded from view.
A “re-imagining” of A Nightmare on Elm Street opens this week. Really? The original Freddy movie, which is now best known as Johnny Depp’s first big-screen role, not to mention its endless (and endlessly lame) sequels?
Before a recent Saturday matinee screening of Alexandre Aja's Piranha 3D — which, for the record, is a unabashedly bloody excursion into B-movie mayhem — I took in trailers for no less than five new 3-D movies: Resident Evil: Afterlife, Tron: Legacy, Green Hornet, Jackass 3D and Saw 3D, all of which and more (including the next installments in the Harry Potter and Chronicles of Narnia series) arrive on the heels of this summer's avalanche of like-formatted fare.
Once upon a time people would go to grandiose, darkened theaters to watch images projected on large screens via illuminated strips of film.
Those days are all but over.
Initially altered by the late-’70s advent of platter projection — not to mention that same era's movie-magic-eroding advent of cable TV and home-video players — film culture is now going through a sea change as theaters of every stripe move to digital projection, a turnabout that has had more of an impact than might meet the eye.
Surprisingly, early word on No Strings Attached — Ivan Reitman's sexually liberated romantic comedy featuring Natalie Portman and Ashton Kutcher — is strong.