You could comfortably bake several loaves of bread—plus a cake or two—in the time it takes to get through ‘Exodus.’ This film does run an hour shorter than Cecil B. DeMille’s famous version of ‘The Ten Commandments’ from 1956, but at times it feels just as long; maybe longer.
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Damien Chazelle’s film, ‘Whiplash’—the story of a future jazz prodigy (Miles Teller) and his manipulative, sadistic conductor (J.K. Simmons, who seems to be the odds-on favorite to win an Academy Award for Best Supporting Actor) has had quite the journey this year. It premiered in January at the Sundance Film Festival and wound up taking home the top prize. After, it steadily built momentum from word of mouth on the festival circuit and now, having been in release for two months, it still seems to be operating on a word of mouth system. (I still get text messages from friends back in the Midwest asking, “Should I see ‘Whiplash’? I keep hearing it’s good.”)
I loved ‘The Avengers’ and I’m looking forward to the ‘Age of Ultron.’ I grew up on ‘Star Wars’ and I’m embarrassed to admit how many times I’ve watched ‘The Force Awakens’ trailer. But I would trade both those upcoming movies right now for a third installment of ‘The Trip,’ which is, hands down, the best current movie franchise on the planet.
Memories are so sensual. The right song will bring you back to the first place you ever heard it; a particular blend of smells will put you back in your grandmother’s kitchen (toasted bialys with cream cheese do it for me every time). ‘Wild’ communicates this idea better than almost any movie I can think of. As Cheryl Strayed hikes the entire Pacific Crest Trail from Mexico to Canada alone, sounds and sights she encounters on her physical journey send her—and the audience—on a psychological journey into her past, to learn exactly why she decided to embark on such a crazy and potentially dangerous expedition. Strayed hikes the PCT with a comically large backpack—“The Monster,” as a few of her fellow travelers dub it—but it’s clear that the heaviest baggage she carries is the emotional kind.
In cinematic circles, there are a few names for this time of year. Awards-minded individuals call the fall “Oscar season” because this is when the campaigning for little gold men gets particularly hot and heavy. The late film critic Roger Ebert used to call it “good movie season,” because the byproduct of all that campaigning was all of the studios’ most promising and intellectually stimulating titles getting released together in the span of two months. In recent years, I’ve started to call the fall by a different name: Biopic season, because barely a week goes by without a new biographical film.
After the November 17 New York City premiere of ‘Selma’—the new Martin Luther King, Jr. biopic that details his time during the Selma, Alabama civil rights marches—the film’s cinematographer, Bradford Young, speaking to the audience after, made a reference to this film being about today as much as it’s about 1964. While doing so, Bradford, who is an extremely passionate man, evoked images from what we all saw out of Ferguson, Missouri this past August. He then spoke emotionally about his job and his life and his family:
When I was a little kid, Bill Cosby was someone who I (and many others) looked at as a person to aspire to be. He was the epitome of “good.” Looking back, I should have just stuck with Spider-Man and Han Solo—fictional characters have a way of not turning out to be alleged serial rapists—but this was the reality for many children of the ‘80s. I realize how stupid this sounds now. Human being are flawed (or much, much worse), but eight year olds don’t really think like that.
‘Mockingjay’ is the latest example of perhaps the single most frustrating trend in modern Hollywood: The part-ification of franchise finales. It’s no longer enough to make a successful movie, or even a successful series of movies; Hollywood now extends—or dilutes, really—these cash cows even further, by breaking their concluding installments in half. You can’t judge a book by its cover, but you absolutely can judge a movie by its title, at least when that title includes the phrase “Part 1.” If it does, get ready for a languid, uneventful film full of set-up and absolutely zero payoff.
The main character of this show, the one who goes by John Constantine, is an impostor. I know John Constantine, sir, and you are no John Constantine.
The last time Christopher Nolan released a movie, film critics got death threats. That was back in 2012, when Nolan released ‘The Dark Knight Rises,’ and the first writers who dared to stray from the positive consensus about the film received waves of overwhelming backlash. After Marshall Fine published his pan, his site and his page on Rotten Tomatoes were both bombarded with angry comments politely requesting he “die in a fire” and hoping someone would beat him into a coma with a “thick rubber hose.”