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Yup, this is the movie about the 17-year-old kid who still sucks his thumb. But don’t get too excited: there isn’t a lot of hot thumbsucking action or anything like that. Instead there’s a lot of adolescent angst, and the fact that it’s so achingly poignant and pointedly hilarious even if you’re way beyond high school makes me suspect that none of us ever really outgrow that teenage insecurity.
You’ve heard of the great war between the Los Angeles gangs the Crips and the Bloods, right? But have you heard of the longstanding rivalry between the Clowns and the Krumpers? Neither had I, and I felt a bit like slinking down in my seat in embarrassment while watching *Rize,* the powerfully moving new documentary about this Southern California dance craze.
Well, hooray for a movie about girls doing their own thing. Too bad it’s more like a training-bra of a flick designed to indoctrinate tweens with the estrogen-drenched sappiness of “women’s pop culture” — you know, like Oprah magazine and Lifetime Original movies and Celine Dion ballads — than a story that deals with the … more…
Of course, most respected anthropologists and biologists recognize that the New World Vampire, or *vampirus americanus*, differs greatly from the European species, or *vampirus continentalus*, but few films have recognized that the wide-open spaces of the U.S. produce a vastly altered creature than Europe’s dense urban spaces or intimate, if remote, medieval villages. But years before John Carpenter and the team of Quentin Tarantino and Robert Rodriguez documented the vampires that dwell in the lonely stretches of the Americas, the criminally underappreciated ethnographer Kathryn Bigelow did it — spookily, grimly, hilariously, gloriously — with 1987’s *Near Dark,* in which a coven of nasty bloodsuckers roam the deserted American Southwest.
How often must we hear the same story over and over again before someone in a position to do something about it starts to listen? Oscar-nominated documentarian Liz Garbus relates a familiar tale — of horrible sexual abuse and parental neglect and indifference from the justice system — with a shocking, powerful intimacy that’s a … more…
It’s completely predictable and predictably feel-good, but so damn what? This is an utterly delightful flick, not for the least which reason is that it’s about complex, engaging, and realistically flawed young women devoting their lives to something more ambitious than chasing boys and buying cosmetics. London teenage Jesminder (Parminder K. Nagra) lives in a … more…
A moviegoing pal of mine calls it ‘Disney goosebumps,’ the awestruck, think-I’m-gonna-cry feeling evoked when the alchemy works and image and music fuse with your imagination and longing to transport you to another world.
There’s not a thing that isn’t hauntingly, quietly electrifying about this, the first truly grown-up comic book movie. Fans of the medium have known for years that the form had no trouble being Important, but the film industry (though perhaps not all filmmakers themselves) has stubbornly insisted on treating comic adaptations as juvenile.
Spider-Man, Spider-Man / Kicked Harry Potter in the can / Blockbuster, all the way / Hundred mill in just three days / Geek out! Here comes the Spider-Man!
Please don’t write into tell me how sophisticated Halloween actually is, because that’s a symptom of my third point, which is that I suspect the Halloween movies are like the Star Wars movies, in that the most fun thing about them isn’t what’s actually onscreen but the fannish discussions that happen offscreen about the interrelations between characters and the interconnections between events that loop through the entire series of films.
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