It’s never easy making a film of a great novel. For director Stanley Kubrick, Vladimir Nabokov’s Lolita presented not only the fairly typical challenge of translating a story built around characters’ internal thoughts and feelings but also, in 1962, the task of dealing with a taboo subject.
Fairy tales have been reinterpreted throughout history, often with great success. Little Red Riding Hood has been updated by artists from Tex Avery to Stephen Sondheim; it was even presented as a very funny Fractured Fairy Tale on the Rocky and Bullwinkle show. Unfortunately, Catherine Hardwicke’s new version doesn’t belong in such high-class company.
The starting point of Hall Pass, the latest comedy from writer/directors Bobby and Peter Farrelly, is the same as that of most current TV sitcoms: Gone-to-pot, sex-mad, middle-aged suburban American husbands — who’ve been infantilized by their disappointed, slightly contemptuous, much more attractive wives — yearn for freedom (and more sex) via younger, even hotter women.
If you were around during the launch of high-def TV, you may remember an interesting phenomenon: People with HDTVs became oddly knowledgeable about esoteric topics, such as the migratory patterns of North American birds or the concept of Dark Matter.
If you were around during the launch of high-def TV, you may remember an interesting phenomenon: People with HDTVs became oddly knowledgeable about esoteric topics, such as the migratory patterns of North American birds or the concept of Dark Matter.
If you were around during the launch of high-def TV, you may remember an interesting phenomenon: People with HDTVs became oddly knowledgeable about esoteric topics, such as the migratory patterns of North American birds or the concept of Dark Matter.
Led Zeppelin epitomized testosterone-fueled rock & roll — heavy metal at its finest. But that didn’t mean the band couldn’t go mellow once in a while (as in “Going to California”).
The first animated movie by Pirates of the Caribbean auteur Gore Verbinski, Rango isn’t your average cartoon. Above all else, it’s a western, having so many references, tributes, and in-jokes about the old American frontier that you expect Frankie Laine to come in on the soundtrack, singing his theme song from Tim Conway’s 1967 sitcom of the same name.
La Belle et la Bête, Jean Cocteau’s modernist and poetic interpretation of Jeanne-Marie Leprince de Beaumont’s story, is full of symbol and metaphor but uses the simplest cinematic tricks to enchant and deceive. And now, it continues to work its magic on Blu-ray.
You don’t watch Fast Times at Ridgemont High for any home theater glories. More likely, it’s a favorite movie to get stoned to — er, a series of memorable vignettes of high-school teenagers attempting to lose their virginity while surviving soul-destroying service-industry jobs.
Clinical depression isn’t exactly the stuff of Hollywood dreams. And in 2011, neither is Mel Gibson. His real-life drunken tirades have cost him dearly — and they make him an unlikely candidate for the necessarily sympathetic movie role of a severely depressed man who takes to talking through a beaver hand-puppet just to survive.