The blockbuster problem in The Avengers is the writers' desire to turn a nuclear weapon into a golden bullet that can save the day -- even if this bomb is more likely to ruin it.
To help you know what you'll encounter should you go see What to Expect When You're Expecting, I've put together the following helpful guide -- because before you buy that movie ticket, you need to know what you're getting yourself into.
Battleship succeeds in being big, dumb, and extremely loud, and after The Avengers, we should all be expecting a lot more.
Lovely Molly is a direct descendant of The Blair Witch Project. But this genre of horror film is played out -- or at least this slight, rarely unnerving effort makes it seem so.
The new empire still plays by the games of the old empires: of divisiveness, of scarcity, of might and fear, even while we have never had such abundance and innovation. It is this paradox that our documentary Empires sets out to unravel.
We discuss a term used in Battleship -- "Goldilocks planet" -- where "the porridge is just right" for life. And this leads to the notion that if there were life out there, would it resemble Hollywood aliens, friend or foe?
Most of the fun of watching Ali G and, later, Borat and Bruno, was wondering what outrageous stunt Cohen would pull next. If audiences don't think Cohen could possibly top his previous antics, does that take the fun out of the whole thing?
Isn't it possible to be entertaining, humorous and intelligent all at the same time? We appreciate thought-provoking, envelope-pushing entertainment; Muslim and Arab communities are not above that.
Brace yourself, folks. Battleship is not as bad as you've heard. It's not cerebral, the plot is nonsensical at times, and yes, the basic laws of physics are violated in almost every frame, but it's a summer blockbuster, tried and true. (Think Armageddon.)
Behold: the cerulean sparkle of the Cote d'Azur, the endless waft of chain-smoked Gitanes over the Croisette, the private yachts. Cannes. And its megaton line-up has arched the eyebrow of even the most indifferent cineastes this year.
A great film should change lives. While typically cinematic masterpieces are able to change the outlook of their audiences, in the case of Safinez Bousbia's documentary El Gusto, the film managed to dramatically change the existence of its subjects and its filmmaker.
So I finally read your screenplay, and let me start by saying, great job. I didn't really love the title. I know you probably put a lot of thought and effort into Zombiepocalypse: To Hell and Back on the Wings of a Humidor, but something about it just didn't resonate with me.
Have you ever wondered how films transport the moviegoer to another place in time? No graphic enhancements needed, just a great prop master.
It's beautiful, all these people from around the world who loved this film in which the French are silent. It's like a message sent to everyone: just shut up.
Re: Cameron Diaz's breasts. It wasn't exactly an average subject line, never mind an average subject. But there it was, sitting in my morning inbox, making a lot more sense than I ever could have expected.
The way Joss Whedon and company present their female superheros merits acknowledgment primarily because of what they don't do. In short, they don't draw one damn bit of attention to it.