AHX wasn’t too bad. It was pretty good except for the fact that a movie just seems to be too short a form to deal with hate and such–at least most movies.
Every so often a film comes along that takes a shot at the suburbs. Built on a foundation of paper-thin appearances and material possessions, suburban America is always an easy target.
Bewitching French confection follows the titular flibberty-gibbit as she embarks on a mission to better the lives of those around her and stumbles, along the way, upon love.
Writer-Director Cameron Crowe fashions a heartfelt, pitch-perfect ode to coming of age with a burning love of music during the early 70s.
The skills director Pedro Almodóvar has been honing over the past two decades come together perfectly in his ode to all things maternal.
The good news is, this long-awaited fanboy favorite – a hybrid of the two waning sci-fi franchises – is only marred by lazy acting, writing and directing. Other than that (oh, and a few lame special effects shots), the result is neither as bad nor as good as it could have been.
Once you get used to the “awesome” and “wow”-heavy dialogue, James Cameron’s excursion into both 3-D technology and deep ocean trenches delivers some fascinating footage.
Michael Mann’s reverent, meandering, overlong biopic of the man who would be champ may not be The Greatest, but some of its performances are, particularly from Will Smith.
Ambitious, disjointed, messy spectacle from co-writer/director/conspiracy theorist Oliver Stone is so full of plot lines it seems bent on telling the 32-year life of the world’s greatest conqueror in real time.
It is clear why Steven Spielberg is one of the most successful modern filmmakers. During AI: Artificial Intelligence, Spielberg exhibits the artistry that has elevated him to the status of an exalted auteur as opposed to a merely adequate entertainer.
