The San Andreas fault stretches 810 miles up the Pacific coast, roughly the length of a dozen Dwayne “The Rock” Johnsons lying end to end. When it rumbles, we’ll need all 12 of him to spring into action — although, as Brad Peyton’s San Andreas warns, that still won’t be enough to save the day.
As a middle-aged woman, I rarely have a conversation with other middle-aged women in which the subject of movies “for us” fails to come up. As a critic, I don’t really think of movies in terms of which ones are “for” me and which are not, but I know what these women mean.
Here’s the ingredients of most of today’s lefty issues docs: doom, doom, Koch brothers, Monsanto, doom, doom, CNN clips, doom, doom, upbeat guitars and the promise that everything can change if we just get involved. Andrew Morgan’s The True Cost leaves the Koches out of its rundown of the damage…
Poltergeist 2015 is to Poltergeist ’82 what today’s shipped-frozen-to-the-store Pizza Hut dough is to the kneaded-on-site pies the chain’s stoned cooks tossed in the Reagan era. It’s the same kind of thing, with the same shape and some shared ingredients, but the texture’s gone limp, and there’s no sense of…
During “Compliments,” a first-season sketch on Inside Amy Schumer, a group of female friends respond to every bit of praise with a verbal self-maiming: “I tried to look like Kate Hudson but ended up looking like a golden retriever’s dingleberry,” says one. Sighs another, “Of course I see everyone when…
The final episode of Mad Men was upbeat — if you enjoy the death of the counter-culture. On this special episode of the Voice Film Club podcast, Village Voice film editor Alan Scherstuhl and editorial fellow Lara Zarum, along with the Voice’s TV critic Inkoo Kang, discuss the final episode…
In a junk-food summer, Brad Bird’s Tomorrowland is a defiant carrot stick, a blockbuster adventure flick where the message is “Think smart.” It’s a deliberate phooey to the kiddie carnage of movies like Transformers and The Avengers, which frighten children about the apocalypse before they can even spell the word…
Maybe we contain multitudes, and maybe we contain a couple of great splashes of primary colors. With one arm stretched high above his head, puppeteer Caroll Spinney has spent decades embodying the warmest of yellows and grimiest of greens, playing — in every sense of the word — Sesame Street’s…
In the decadent 21st Century, the summer movie season now sprawls from March through December. (Star Wars: Episode VII is due to awaken the Force December 18; every prior Star Wars picture has come out Memorial Day weekend.) But I’ll stick to tradition and call Memorial Day the start of…
Fictional movies that tackle topical subjects often have about them the fusty air of a civics lesson, as if we’re supposed to watch while pretending we’re not being led down the path of righteousness. But writer-director Andrew Niccol’s Good Kill is something else; it’s immediate and vital, and it doesn’t…
CANNES, France — “Je m’appelle Max.” Now that’s an opening line, so much better in French, and it’s just one reason I’m glad I waited to see Mad Max: Fury Road here in Cannes on the morning of the festival’s second day, Thursday, rather than at home in the States…
When suited, sunglassed, cigarette-smoking Don Draper says so long to TV land this weekend, many a fan will feel the loss. Sure, Mad Men romanticized and oversexed ’50s and ’60s America, but it did so with style. From Joan’s ferocious curves to Pete’s sneaky maneuvers, the motley crue of ad…
Some people complain about sequels to beloved movies, while others welcome the possibility that a part deux might be even better than the first. Sometimes that happens: While The Godfather is great, The Godfather: Part II expands on its dramatic intensity without repeating any of the same tricks, and The Empire Strikes Back is a much more operatic and emotionally complex picture than Star Wars.
You might want to protest that a sparkling new print of Grey Gardens violates the point of Grey Gardens. But if you feel strongly about it — or if you’ve never had the chance to witness the Fall of the House of Beale on a big screen — there’s no…
Diane Keaton thinks her new film is delightfully ironic. Richard Loncraine’s 5 Flights Up is the latest in that burgeoning genre, Retiree Real Estate Romantic Comedy, where cool, gray-haired New Yorkers realize they can barely afford to live in the city where they fell in love.
This doesn’t feel like a film that exists. How is George Miller’s bonkers, exhausting, no-future smash-’em-up Mad Max: Fury Road not one of those almost-was boondoggles mourned and dreamed of by fans, a revered director’s impossible vision that, thanks to the unstout hearts of studio bean counters, never actually vaulted…
Blues legend Bessie Smith was arguably America’s most powerful black woman during her heyday in the 1920s and ’30s. Her reign wasn’t just based on being the highest-paid African-American entertainer of her generation, but, according to the new HBO movie Bessie…
In March, the Miami International Film Festival hosted the Florida premiere of Iris, with fashion icon Iris Apfel herself in the audience, watching the film for the first time. Minutes before, while chatting in the back room of O Cinema Miami Beach, she’d revealed it was her first time watching…
“I’m over people who think they’re funnier than the movie,” says LA Weekly film critic Amy Nicholson, in the wake of her recent piece, “Stop Laughing At Old Movies, You $@%&ing Hipsters.” Joining her — *in the same room, for the first time ever on the podcast* — as usual…
Sofia Vergara is built like an amphora, a living testament to the form ceramicists throughout the centuries have adored. In the fleet and gloriously ridiculous comedy Hot Pursuit, Vergara plays Daniella Riva, a mobster’s wife who needs to be escorted from San Antonio to Dallas, where she’ll testify against the head of a major drug cartel.
Iris Apfel isn’t exactly a household name, unless we’re talking about very stylish households. From 1950 to 1992, Apfel ran Old World Weavers, the business she cofounded with her husband, Carl, which faithfully re-created antique textiles for use in home decorating.
Always an eagle-eyed portraitist of contemporary Italy and its socioeconomic peccadilloes, Gianni Amelio hasn’t had a film released stateside in more than 15 years, and Intrepido: A Lonely Hero — a strange, gentle, whimsically formulated concoction — may give us a clue as to why.
