Return to Memphis, Kansas City, and the Cold War, Spielberg-style.
Last call for Al on Broadway.
Straight onto Blu-ray for Compton and other hits.
Ip Man in theaters, warrior women from Asia on Blu-ray.
On the road to Academy Award gold.
Start 2016 with assassins, cannibals, and ghosts.
The theatrical David Bowie.
Out with the old, in with the new.
A woman, a mop, and destiny.
Money. It’s a crime.
Quentin Tarantino’s got your number this Christmas.
It will rock you.
Have old friends over for dinner to watch.
A whale of a tale.
(Prince) Charles in charge.
Going the distance, via a different route.
Read all about new Blu-rays and DVDs.
For you and me both, Bruce.
Observations as Bond 24 goes down.
Good grief, Charlie Brown–you’re CGI and 3D.
Songs from White House occupants.
Cowboys and cannibals jump-start Halloween.
Two hits and a ms.
Steven Spielberg has made defining movies about the Civil War (Lincoln) and World War II (Saving Private Ryan and Schindler’s List) but the Cold War eludes his grasp in Bridge of Spies, his fourth film to star Tom Hanks. Structured around the construction of the Berlin Wall, Bridge of Spies ends, metaphorically and too easily, with its fall. Lacking the urgency of Munich (2005) and its forward-thinking topicality, the film is more of a museum piece, closer in effect to Amistad (1997). It is, to be sure, a very handsome exhibit. Cinematographer Janusz Kaminski’s preferred blown-out style of lighting transforms actual locations and the fabrications by Adam Stockhausen (The Grand Budapest Hotel) into splendid period sets, a chess board for spy games that begin in 1957 Brooklyn. Spielberg’s command of
Balancing art and commerce at the New York Film Festival.
Spring Awakening and Old Times are revived on Broadway.
Benicio Del Toro and Emily Blunt enter no man’s land.
A boatload of laughs.
A mountain of trouble.
A deal with a devilish Johnny Depp.