Review: 'Black Panther' departs from superhero cliches
There is an old truism that posits that the best superhero films are those that first and foremost aim to be different.
There is an old truism that posits that the best superhero films are those that first and foremost aim to be different.
As the 90th Academy Awards draw closer, it’s hard not to compare the various nominees, particularly those in the Best Picture category.
Last year, Ridley Scott’s “Alien: Covenant” premiered, but does anyone even remember the film?
“Tom Hanks and Meryl Streep were a bit shoddy in ‘The Post,’” ... said no one ever. Everyone and their mother anticipated that Steven Spielberg’s newest film about The Washington Post’s struggle to publish the Pentagon Papers would net Academy Award buzz for these two seasoned actors, who are among the most well-respected members in their industry.
This was not part of the plan. I had every intention of watching “The Post” and writing my review over the long weekend.
In his newest film, “Molly’s Game,” Sorkin is behind the camera as well as the script. As far as directorial debuts go, the film isn’t half bad. It’s not great — many have already assessed that Sorkin is a better writer than director — but it’s a captivating two-and-a-half-hour thrill ride that plays like a more tame and conscientious version of “The Wolf of Wall Street.”
A few weeks ago, my editors acquiesced to my request to drop the numerical ratings system in my reviews.
On Saturday night, I trekked down to the labyrinthine nether-realm that is the Nugget Theater to see “Marshall.” Ten minutes before, I had left the Hopkins Center for the Arts’ screening of Taylor Sheridan’s problematic, complicated yet engaging “Wind River,” which played to a mostly packed theater.
On Sunday, Oct. 29, Upper Valley television channel CATV’s sixth annual Halloween-o-thon took place on Dartmouth’s campus from 1 p.m.
In last week’s review of “The Snowman,” I encouraged readers to skip that dreadfully dull film and instead watch “Battle of the Sexes.” As it happens, I saw the two films over a week ago, and the contrast could not have been greater.
I watched “Detroit” over a week ago, and I’m still not quite sure what to say.
To be clear from the outset, the original “Blade Runner” is far from perfect. It is a flawed masterpiece, as influential as it is imperfect. And that’s probably why I love it. It is a slow, poetic and evocative film that never asked for or needed a sequel. But here we are 35 years later and “Blade Runner 2049” actually exists. Is it as good as the first film?
In many ways, “Dunkirk” is the film Christopher Nolan was meant to make. This is not to say that it’s his best film, though it is certainly among the best.
Darren Aronofsky and I have a complicated relationship. Well, to be more accurate, his films and I have a charged, complex and often fraught relationship.
Going into “Downsizing,” all I knew was the major overarching concept. People were shrinking in order to get more bang for their buck, in a strangely practical use of science fiction technology.
“The Shape of Water” is perhaps best understood as a cap to a thematic trilogy that began with “The Devil’s Backbone” and continued with “Pan’s Labyrinth.” All three films fuse fairy tale narratives and period piece war stories together, highlighting the connections they share to illustrate what does and does not work about each.
When the original “Twin Peaks” aired over 25 years ago, it was a TV show about a mystery. With its revival this year in the form of “Twin Peaks: The Return,” the show itself has become a mystery.
A jam-packed movie theater at an evening showing of a horror movie on its opening weekend is not an atypical sight in a suburban Pennsylvania town.
As a film, “The Big Sick” is an unconventional addition to a long tradition of romantic comedies with memorable protagonists that include the likes of “When Harry Met Sally,” “Bridget Jones’s Diary” and “Notting Hill.” Kumail Nanjiani stars as Kumail, a character based on his early life as a standup comic who falls in love with psychology graduate student and quintessential girl next door, Emily, a somewhat underutilized Zoe Kazan, who is based on Nanjiani’s wife in real life, Emily Gordon.
The Vietnam War doesn’t fit neatly into American folklore.