Even though “The Great Gatsby” has gotten the movie treatment several times in the past, no film adaptation has ever really stood out as the definitive version of F. Scott Fitzgerald’s celebrated novel. Director Baz Luhrmann’s film is certainly the most visually arresting interpretation of “The Great Gatsby” ever produced. Catherine Martin, who previous worked with Luhrmann on “Moulin Rouge,” “Romeo + Juliet,” and “Australia,” deserves multiple Oscar nominations for her hyper sets and eye-popping costumes. As wonderful as Luhrmann’s “Great Gatsby” is to look at, the enchanting visuals are also ironically the movie’s downfall. In the midst of the art direction, costumes, and music, the story and characters that made Fitzgerald’s book a classic become a mere afterthought.

Jerome; Willcox; Mormon Lake

With the onslaught of Oscar contenders that debuted last November, there’s a good chance that a little-seen indie gem, “Starlet,” managed to fall off your radar during its short, theatrical run. Winner of the Special Jury Prize at the 2011 SXSW film festival, “Starlet” explores the unlikely friendship between a cheerful, aspiring actress (played by the winsome Dree Hemingway) and a cantankerous, elderly widow (the late Besedka Johnson).

It’s not often art lovers get to see a work in progress let alone contribute to it, but Arizona Opera gives fans the opportunity to do just that this weekend when they present the first reading of “Riders of the Purple Sage” — an original opera based on Zane Grey’s western novel, set on the Arizona-Utah border.

Positive Coaching Alliance has announced the official kick off of its new Phoenix Chapter. Established in 1998, Positive Coaching Alliance (PCA) is a national nonprofit organization providing all youth and high school athletes a positive, character-building youth sports experience.

Even though “The Great Gatsby” has gotten the movie treatment several times in the past, no film adaptation has ever really stood out as the definitive version of F. Scott Fitzgerald’s celebrated novel.

If any piece of classic American literature should be depicted on film with wildly decadent and boldly inventive style, it's "The Great Gatsby." After all, who was the character of Jay Gatsby himself if not a spinner of grandiose tales and a peddler of lavish dreams?

Along with Christopher Nolan’s “The Dark Knight Rises,” “Iron Man 3” is one of the rare superhero threequels that doesn’t disappoint. While Jon Favreau remains an executive producer and co-star, he passes on the directorial duties to Shane Black of “Kiss Kiss Bang Bang.” Black maintains all the action, humor, and character development that made Faverau’s first two films so enjoyable, while also incorporating his own unique signature. His film continues to raise the stakes and pushes its characters to their critical limits. In addition, “Iron Man 3” makes some hilarious commentary on the media’s role in terrorism with several inspired twist. The result is the darkest of the “Iron Man” trilogy and, ironically, the funniest.

The Norwegian directing team of Joachim Roenning and Espen Sandberg, whose biopic of World War II resistance fighter Max Manus was a huge hit on home turf, have turned to another native hero for "Kon-Tiki." One of the most-vaunted escapades of the 20th century, Thor Heyerdahl's 1947 Peru-to-Polynesia expedition by raft gets glossy big-screen treatment in this efficiently told action-adventure. Delivering visual drama and understated character study, sometimes in disappointingly formulaic fashion, the feature has its incisive moments but falls short as both epic and intimate portrait.

The adage “truth is stranger than fiction” is proven in “The Lost Wife,” by Alyson Richman. She has succeeded in blending both for an unforgettable reading experience.

Trumpeter/bandleader Doc Severinsen can still hit the notes, and it's not something he ever takes for granted. He always warms up.

Just about all the actors in “The Big Wedding” are severely typecast. Diane Keaton is a high-strung, divorced mother like in “Something’s Gotta Give,” Robert De Niro is the father of somebody getting married like in “Meet the Fockers,” Amanda Seyfried is a blushing bride like in “Mamma Mia,” Robin Williams is an eccentric minister like in “License to Wed,” Topher Grace is a deadpan, quick-witted nice guy like in “That ‘70s Show,” and Katherine Heigl is a needy single woman like in every movie she does. Even though the actors are in their comfort zones, not a single person feels natural in “The Big Wedding.” That’s probably because the film doesn’t understand its own characters or their motivations. Nobody behind the camera has any idea what they’re doing, resulting in one of the most awkward romantic comedies of recent memory.

On May 5, 1862, a rag-tag force of vastly outnumbered Mexican soldiers held off well-provisioned French troops backed by heavy artillery in a battle to defend Mexican sovereignty.

Brantley Bell has been around a couple of championship celebrations, but he wants one more in a Mountain Pointe uniform before heading to the next stage of his career.

If you watch the trailer for “Renoir” – a new period drama from French filmmaker Gilles Bourdos – a variety of adjectives are bound to come to mind: conventional, humdrum, lackluster. Sure, they’re trying to sell the story of one of the all-time great painters in a mere two minutes, but nothing about it grabs your attention – let alone, compels you to sit through the actual film. Luckily, this is not exactly the case for the movie itself, which is exquisite to look at but unfortunately devoid of any real insight into Pierre-Auguste Renoir. You come wishing to learn about the artist and his work, but instead leave dwelling on the film’s more engaging supporting characters.

When one thinks of the Holocaust film genre, dramas such as “Schindler’s List” and “The Pianist” instantly come to mind for their harrowing portrayals of victims and survivors who suffered at the hands of Nazis. But what about the German survivors – more specifically, the children of Nazi war criminals forced to come to terms with the atrocities of their parents? This is a question posed by the exceptional new German-language film, “Lore,” Cate Shortland’s follow-up to her acclaimed 2004 feature “Somersault.”

There's a siege mentality about Michael Bay's movies, as though viewers are the enemy holed up in a bunker and he's the guy ordering heavy-metal music around-the-clock to wear down our morale and force us to surrender.

"Mud" has the feel of a classic, although it's perhaps not enthralling enough to be one. The third and most elaborate feature to date from writer-director Jeff Nichols seems to have been adapted from a novel that doesn't exist -- something by James Lee Burke, perhaps, or Cormac McCarthy, or some other specialist in frequently violent tales about the challenges to masculinity and the forging of new identities that face rural people who belong to a sprawling modern world -- who might be hanging out in a supermarket parking lot one moment and falling into a creek full of deadly cottonmouths the next.

With a reputation for being innovative and versatile, Dante Ariola made a name for himself directing commercials for the likes of Coca Cola, Nike and Lexus. What began as a substantial career in graphic design morphed into a myriad of film work, including music videos for bands like Cake and Cypress Hill, and a documentary short about wildlife conservationist Dr. Alan Rabinowitz, entitled “Man & Beast.”

Just about all the actors in “The Big Wedding” are severely typecast. Diane Keaton is a high-strung, divorced mother like in “Something’s Gotta Give,” Robert De Niro is the father of somebody getting married like in “Meet the Fockers,” Amanda Seyfried is a blushing bride like in “Mamma Mia,” Robin Williams is an eccentric minister like in “License to Wed,” Topher Grace is a deadpan, quick-witted nice guy like in “That ‘70s Show,” and Katherine Heigl is a needy single woman like in every movie she does. Even though the actors are in their comfort zones, not a single person feels natural in “The Big Wedding.” That’s probably because the film doesn’t understand its own characters or their motivations. Nobody behind the camera has any idea what they’re doing, resulting in one of the most awkward romantic comedies of recent memory.

The Cannes Film Festival in France will be getting a taste of the Valley next month.

"Oblivion” is another movie that seems better suited for a video game than a motion picture. Watching the characters engage in endless shoot outs and explore vast, abandoned terrains, all you want to do is get your hands on a controller. Since a movie is unequipped with game play, though, you’re forced to sit back and merely observe the story. Then again, most modern video games have more three-dimensional characters and smarter plots than “Oblivion.” This science fiction mystery from director Joseph Kosinski isn’t completely without some good ideas, elevating it above “Transformers” schlock. It’s just unfortunate those ideas never meld into anything that intriguing.

Student actors at Horizon Community Learning Center in Ahwatukee are presenting audience members with a different kind of play through next weekend.