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James Franco’s elucidation of Allen Ginsberg is soaring in its warmth and sincerity. The words are (mostly) the writer’s, but the vitality and the passion are all Franco’s: he makes the poet breathe for us today in a way that feels entirely modern and relevant.
How sad is it when a horror movie appears to be aiming for overwrought and still ends up underbaked? This overly familiar, wholly unoriginal would-be psychological thriller provokes few reactions outside of boredom and — in, sadly, too few moments — derisive laughter.
I come to you with all honest sincerity and humility to say that I cannot, for the life of me, tell you what the hell this damn movie is about.
Sam’s little-boy idealism about what it means to be a cop gets a 1973 wakeup call…
There is a sorry tradition among children’s movies of late that dictates that bratty kids are adorable…
Sure, the clothes look funny and there’s no cell phones, only giant cackling radios, but that’s a given. It’s all the other unexpectedly different 1973 stuff that’s so disturbing.
Poor Zac Efron: he’s at that awkward Movie Star stage. He’s got It: that indefinable onscreen charisma. But Hollywood doesn’t have a lot of options for him while he’s stuck in the postadolescent, not-quite-grownup phase.
At the behest of several readers who appear to believe they know my taste better than I know it, and also in an attempt to figure out just what the hell M. Night Shyamalan was thinking with his The Last Airbender, I watched the entire first season of Nickelodeon’s pseudo-anime series Avatar: The Last Airbender.
DCI Sam Tyler has an accident in 2005, and wakes up in 1973. Has he fallen down a rabbit hole, or is he following the Yellow Brick Road?
Lo and behold and WTF, here’s adorkable Jay Baruchel getting molested by dancing mops as the literal replication of a 70-year-old cartoon forces its way into a movie where it clashes tonally, interrupts the plot, and just plain makes no sense.
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