I actually watched Queen of Outer Space a few years back, but didn’t realize that until at least a half hour into my second viewing last week. One would instantly figure that in such a situation the feature doesn’t rank to high on anyone’s list of favorite films. And that’s probably accurate.
Critics tend not to care, especially in retrospect, whether or not a film turns a profit. In the long run, box office success rarely correlates with lasting public opinion. Honestly, nobody ever cites Casablanca as a great movie because it happened to make triple its budget in its initial theater release. That's just not what people remember. That in mind, I'm not really considering Hancock's $600+ million in revenues on its $150 million budget when I say that it wasn't the movie it could have been. In fact, it's pretty damn amazing that it made that much money considering how it actually turned out.
The film, though, details how gang members live in the South Bronx and interact with its citizenry. Surprisingly, though, there’s not a whole buncha complaining going on. That might have just been due to who agreed to an on camera interview, though. Either way, the documentary, which was pretty much out of circulation until a DVD release last year, counts as a snapshot in time that’s served to impact not just music, but shaped the way boroughs are perceived
Any action, if played out in public, has a hint of the performative about it. But at the same time, a father and son playing catch in a part couldn’t manage to spur discussion within the art and academic worlds. Maybe purpose is the only thing needed to make something public, performative art. Who knows, I suppose, would be the best answer to all of this.
Well, that little tidbit seems to get left out of much of the writing which works to properly set Chicago’s Henry Darger into a wider art-world context.
Outsider art seems as exploitative as just about any other form of gawking at the weird. Yeah, some of these sub-pinheads are crafty in their own unique way. But if they weren’t odd enough to rank as outsiders, it’s pretty certain no one would give a shit. Did anyone ever catch a Wesley Willis performance because of his impeccable skills? I’ll venture a guess and say no. It was a freak show – an entertaining one, surely. But still…
This is a trailer review. I haven't seen the movie. I like the trailer. Why? It has vampires who are vampires -- ugly, bad-ass goobers not a Twilight pretty boy in sight. The action looks as if it might be worth two hours of ones time.
The most enduring alien invasion story is The War of the Worlds. The original novel by H.G. Wells has been adapted to various media over the past century and each one uses that quintessential alien invasion chronicle to comment on the politics of the day. The novel was published in 1898 in England, a time when the British Empire's classical hegemony was beginning to collide with the birth pangs of globalism. The 20th century would prove to be the effective end of the empire as bits and pieces of British influence dwindled across the world. Wells brings his country to task for its imperial ambitions, depicting a scenario in which the world's most powerful nation is brought to its knees by an outside force with its own designs on empire. Fittingly, the would-be Martian Empire crumbles not from military opposition but from sickness, a rotting from within that has more to do with the march of nature than any strict political force. The commentary is clear: No empire lasts forever.
Usually when people talk about the way the Internet has changed the film industry they're talking about the pirating phenomenon and its impact on blockbuster ticket sales. But there's another side to this story, an arc that has made it possible for truly independent features to find a huge audience. One of the most prominent examples of this is the 2009 fantasy feature Ink. It's been a long time since films labeled "independent" got their minuscule budgets from the filmmaker's own pocket and the rest piecemeal from family, friends and local businesspeople. These days indie features are more likely the vanity projects of established filmmakers who get their distribution from the arthouse wings of major studios. Ink got its funding from writer/director Jamin Winans and his personal production company Double Edge Films. The whole thing cost $250,000. In other words, the catering budget for your standard studio picture. This isn't the remarkable part about Ink, though. Its most interesting story (other than the script itself) is its distribution.
With a name like Dickhouse, it’s not difficult to guess that Johnny Knoxville and Jeff Tremaine production company are able to summon a few interesting ideas regarding what to film and how to go about doing it.
Yeah, that’s a cheap shot. And pretty unfair. Oh yeah, and baseless. There’s really nothing in Keiran’s past to point at ineptitude, not even Paper Man. And while that flick worked really hard at being clever, pithy and emotive, it doesn’t really wind up being any of those things despite counting Jeff Daniels as the lead, portraying Richard, Lisa Kudrow as his wife and Emma Stone as a teenaged friend to the main character.
Movie for Lots of Little Girls, Girl Teens, And Big Girls Too, and Women.
The is a trailer review. I haven't seen the movie. If the movie is anything like the trailer with will be one big entertaining flick. Yes, the trailer looks good. It zings with amazing imagery, and it kicks with excitement.
The flick is the modern fairy tale of a Jane Bondish kick ass, little teenage girl. A lot of little girls and teens, and many more big girls too, are going to like this movie, and so will dudes who like kick ass action flicks.
HANNA is a suspense action thriller made by director Joe Wright , Saoirse Ronan as Hanna, and Erica Bana as her father, and Cate Blanchett as her nemesis.
What isn’t so simple is that a vast number of the people De Niro has become over his career and the struggles each goes through when considering the difference between right, wrong and what one might get away with.
Apparently, he’s good at playing crazy people.
The third installment in the theatrical adaptation of C.S. Lewis' The Chronicles of Narnia sees the youngest Pevensie children, Lucy (Georgie Henley) and Edmund (Skandar Keynes) board the Dawn Treader to seek out the seven lords of Narnia, and vanquish the mysterious evil that threatens the magical kingdom of Aslan. Along the way, they deal with an insufferable cousin, the gallant King Caspian and traps and temptations that threaten their quest. All in 3D!