Thirty years on, the spiritually evocative, time-bending comedy is as beloved as ever, but its legendary star has been subjected to new scrutiny over reports of inappropriate behavior.
I’m thinking of a moment in the original movie in which Stephen looks skeptically at a deeply corrupted individual nattering about the greater good and retorts, “No. I mean, come on — look at your face.” Nobody says that in the sequel, but they should.
For a child, losing a grandparent can be part of growing up, a coming-of-age experience; losing a parent for an adult can be an encounter with childhood, especially if it involves going through the contents of the household they grew up in, the actual stuff of their childhood.
Not so long ago, a movie like John Watts’ Spider-Man: No Way Home would definitely have prompted me to open my review by dubbing it, if not the best Spider-Man movie ever, at any rate the most Spider-Man movie ever.
Running just over three hours long, Avengers: Endgame builds to a denouement with a valedictory air akin to the last act of Peter Jackson’s similarly sprawling The Return of the King, except that it comes at the end of 22 movies instead of three movies.
The paradox of contemporary Hollywood blockbusters is that in our time virtually anything conceivable, no matter how wild and out there, can be put on the screen, but it almost never is.
1999 was a very good year for film, and how much more peculiar Tim Burton’s Miss Peregrine’s Home for Peculiar Children might have been had it come out that year, before the X-Men and Harry Potter franchises were launched in 2000 and 2001, respectively.
If the early scenes with Marty’s mother suggest that parents sometimes try to hold their children to a standard they never tried to meet themselves, the parking scene suggests that the reverse may also be the case: Children may want their parents to embody a higher standard than they want for themselves.
I’m a sucker for a good time-bending movie. This is a good time-bending movie.
The director who launched the new era of comic-book movies 14 years ago with X-Men is back.
X-Men: Days of Future Past is one of the geekiest comic-book movies ever made — and one of the best. It’s easily the best superhero movie since The Avengers — and, like The Avengers, it plays as a triumphant climax to an uneven series of earlier films.
Looper in 60 seconds: my “Reel Faith” review.
It’s all acceptably diverting, and not actively unpleasant like the 2002 sequel. There are no grand twists or revelations comparable to the truth about the “galaxy” in the original. What the film could most use, I think, is a wide-eyed uninitiate like Linda Fiorentino in the original or Rosario Dawson in the sequel — but one from 1969, which would offer a fresh twist on the outsider’s experience of the MIB’s nutty world.
One could almost regard Moon as a warm-up for Source Code. Both films center on a solitary grunt who’s a cog in a much larger machine — an isolated man squirreled away in a cold, metallic space, unable to contact his loved ones, unsure exactly what’s going on, caught up in the seemingly impossible circumstances of a mission he doesn’t entirely understand. Both films raise questions of identity, memory, and human dignity in dehumanizing systems.
Are there five less inspiring words in the English language than “based on a video game”?
If it isn’t the brilliant film it could have been, Déjà Vu still contains enough flashes of that film to make it entertaining while you’re watching it. On reflection, though, it feels a bit like a shell game in which the conjurer himself has lost track of where the pea is supposed to be.
Brilliantly constructed and virtually universal in its appeal, Robert Zemeckis’s Back to the Future blends equal parts hilarity, nostalgia, science fiction, screwball comedy, and white-knuckle suspense in a complex storyline wound tighter than a yo-yo in a centrifuge.
Yet against all odds, T3 is a smart, rousing extension of Cameron’s paranoid fantasy that not only meshes seamlessly with the past and future continuities of the earlier films, but actually advances and develops the series’ apocalyptic mythology.
The Time Machine is so sloppy that it makes Kate and Leopold look like Back to the Future. It’s also pitiful entertainment, succeeding neither as spectacle, as action-adventure, or as love story.
Whenever Kate and Leopold is about Kate and Leopold (Meg Ryan and Hugh Jackman, respectively), it just about works.
This is a film about the legacy of fatherhood and the inheritance of sonship, about the unbreakable connection and the unbridgeable gap between one generation and the next. It is a celebration of masculinity, but it contemplates how men relate to women as an index of their manhood.
Copyright © 2000– Steven D. Greydanus. All rights reserved.