A mega trailer of all the films in the Star Wars series.
Directed by Rob Marshall. With Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer. Decades after her original visit, the magical nanny returns to help the Banks siblings and Michael's children through a difficult time in their lives.
From a trash-filled Earth to the futuristic Axiom and back again, WALL·E is a finely crafted balance between consumerist dystopia and sixties space-race optimism. Please join me, then, for a detailed dive into the uniquely robotic future of a remarkably human film, as seen through the eyes of its eponymous hero, WALL·E.
Directed by Bryan Singer. With Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy. The story of the legendary rock music band Queen and lead singer Freddie Mercury, leading up to their famous performance at Live Aid (1985).
Directed by Bradley Cooper. With Lady Gaga, Bradley Cooper, Sam Elliott, Greg Grunberg. A musician helps a young singer find fame, even as age and alcoholism send his own career into a downward spiral.
On another note, I am glad that my wife and I went and saw it at the cinema added a depth to the music that does not necessarily come through when listening with headphones.
Directed by Christopher Jenkins. With Jim Gaffigan, Zendaya, Lance Lim, Greg Proops. A bachelor goose must form a bond with two lost ducklings as they journey south.
Invisible actors create worlds of sound in everything you watch - from Jaws to The Wire. With special guests, Carl Gottlieb, screenwriter and author of "The Jaws Log"; Dann Fink, loop group director and co-owner of Loopers Unlimited; Stuart Stanley, Sound Supervisor; loop group members Eboni Booth, Dennis Carnegie, Axel Avin, Jr., Shannon Burkett, Daphne Gaines, and Rashad Edwards; and Will Ralston, supervising sound editor for The Wire, The Deuce, and Treme.
While “old-man action” movies like Taken and The Equalizer could be considered descendants of The Fugitive, they lack its character development. Those thrillers that are character driven—say, No Country for Old Men or Hell or High Water—are less popcorn, more art. The Fugitive acts as a placeholder for a time when adults could be entertained by action heroes without being condescended to (see Die Hard, Lethal Weapon, The Firm, Patriot Games), which is why many viewers who saw the movie as kids in the ’90s, and who are adults now, wield it as a nostalgic marker of taste.
If attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes. I made three movies with John Hughes; when they were released, they made enough of a cultural impact to land me on the cover of Time magazine and to get Hughes hailed as a genius. His critical reputation has only grown since he died, in 2009, at the age of fifty-nine. Hughes’s films play constantly on television and are even taught in schools. There is still so much that I love in them, but lately I have felt the need to examine the role that these movies have played in our cultural life: where they came from, and what they might mean now.