The time of year when Elvis & Nixon meet.
Pee-wee’s back and Netflix’s got him.
In it to win it, this year’s edition.
All’s fair in love and ice.
Ryan Reynolds, smartass superhero.
Ip Man in theaters, warrior women from Asia on Blu-ray.
On the road to Academy Award gold.
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.
A whale of a tale.
Going the distance, via a different route.
Observations as Bond 24 goes down.
Good grief, Charlie Brown–you’re CGI and 3D.
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
Benicio Del Toro and Emily Blunt enter no man’s land.
A mountain of trouble.
Lily Tomlin, Evel Knievel, and other tough cookies.
Mr. Holmes, Woody Allen, and some of my favorite movies of the year now on home video.
Paul Dano is Brian Wilson. (John Cusack, too.)
The ultimate thrill ride.
Arnold walks with a zombie.
One last ride.
Let’s crack this thing wide open.
Six shots at Oscar gold.
Jeepers creepers, Tim Burton’s focused on some really large peepers.
The tank stops here. Have the terrorists won?
Murder, mayhem, and Whiplash in New York.