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Displaying results 1 - 25 of 74 for cinema of the united states. Subscribe to this search
I enjoyed the AP (Associated Press) article on how “A Christmas Story” has become a part of our deeply-rooted Christmas tradition (“‘A Christmas Story’ at 30: Now part of the family,” AFN, Dec. 4). However, I was surprised and disappointed at the writer’s failure to mention the story’s author, who narrated the film and who also appeared in it as the gruff gentleman who directs Ralphie and his brother to the end of the line to see Santa at Goldblatt’s.
Even after three decades, the triple-dog dare doesn’t get old.
HERE: Ahwatukee Tea Party meeting Nov. 21
AAA Arizona is teaming up with Arizona Highways this weekend to present the biggest vacation expo of the year. The Travel Show will take place on Nov. 16-17 at the Phoenix Convention Center and will feature:
Robert Rodriguez's "Machete Kills" is a sequel based on an end-credits joke from a film that was itself based on a joke trailer contained within a half-joke grindhouse homage. Exactly how many degrees such an endeavor is removed from anything resembling serious cinema would require Jean Baudrillard to calculate, yet for more immediate filmgoing purposes, all there is to see here is a surprisingly long-lived gag finally running out of gas. As violent as its predecessor yet noticeably duller and less outrageous, "Machete Kills" is dragged to the finish line entirely by its director's madcap energy and an absurd cast of major stars in strange cameos.
Talk about a promising duo for a dark mob comedy: Robert De Niro, whose mob-film pedigree needs no explanation, and Michelle Pfeiffer, who was, after all, “Married to the Mob.”
HERE: Barnes & Noble night of exploring NOOK apps
It would be dishonest to call “Grown Ups 2” the most repellent high-profile comedy in recent memory. But that’s largely because few moviegoers have memories kind enough to have already erased 2010’s “Grown Ups” — which offered almost every loathsome quality of this installment, plus Rob Schneider.
Summer is here, and along with the warmer weather, it means a lot of us will be headed away from the office to take a week or two of vacation with the family. Having a break with your loved ones, or at least away from the daily grind, can be a great thing, but only if you plan ahead. Otherwise, it can easily become a couple of weeks of working almost as much as you normally do, but without the tools and resources you’re used to having on hand.
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.
Rawhide Western Town and Steakhouse at Wild Horse Pass announced the appointment of Rob Hinkle as general manager. Hinkle’s efforts will focus on all aspects of operations strategy to generate revenue for the destination.
‘The Incredible Burt Wonderstone” starts off with a recipe for grade-A comedy. The cast includes names such as Steve Carell, Steve Buscemi, Alan Arkin, James Gandolfini and Jim Carrey. The director is Don Scardino of “30 Rock,” while Jonathan M. Goldstein and John Francis of “Horrible Bosses” penned the screenplay. The premise regarding rivaling magicians offers endless comedic possibilities. So how is it that the final product is just mediocre? It’s probably because the audience has to be constantly caught off guard in order for a magic show or comedy to succeed. In “The Incredible Burt Wonderstone,” the audience can pretty much predict everything that’s going to happen. This subtracts the elements of surprise and humor from the equation.
In the eight years I’ve taken on the regular duty of reviewing movies, 2012 just might have been the best. It wasn’t easy compiling a top 30 list for a 12-month period of so many diverse, outstanding films. I found myself having to make some absolutely painful snubs, including “Flight,” “The Sessions,” “The Hobbit: An Expected Journey,” and a little cinematic masterpiece by the name of “21 Jump Street.” In the end though, I managed to narrow the list down to the 20 titles that best encompass 2012 in all its glory. If you’re still behind on the movies of yesteryear, consider this your ultimate movie guide to 2012.
Just turned 50, Tom Cruise is eligible for membership in the American Association of Retired Persons. Just split from third wife Katie Holmes, Cruise is the object of told-you-so cynics who simply knew that romance wouldn’t last. Just finished with his stab at something really different as a heavy-metal rock god in “Rock of Ages,” Cruise is coming off one of the lowest-grossing movies in his career.
"Les Misérables” has had a long, arduous journey to the silver screen. It’s been in the works for so long that at one point the film was going to be directed by the now retired Alan Parker, who made the original “Fame” and 1996 adaptation of “Evita.” After decades of rotting in development limbo, the cherished musical finally sees the light of day via the artistic eye of director Tom Hooper of “The King’s Speech. Hooper’s interpretation of “Les Misérables” is a majestic experience composed of enormous sets, elegant costumes, and pitch perfect performances from the entire ensemble. This may very well be the most triumphant movie musical since the genre made a comeback a decade ago with “Moulin Rouge!” and “Chicago.”
While “Knocked Up” established Seth Rogan and Katherine Heigl as major movie stars, it was Leslie Mann and Paul Rudd who stole the entire show. Rogan and Heigl’s characters are nowhere to be found in the sort-of sequel to “Knocked Up.”
Roger Michell’s “Hyde Park on Hudson” often feels like two separate movies. One film is about Franklin Roosevelt’s love affair with his sixth cousin. The other is about King George VI and his first visit to the United States. The problem is that “Hyde Park on Hudson” can never decide which of these stories is supposed to be the A plot and which is the B plot. The narrative as a whole thus suffers with neither storyline meeting their full potential. The fact that the film centers on several fascinating real-life individuals only makes the results more disappointing.
Folkloric legends truly are the guardians of childhood. From the perspective of a child, the world can be an enchanting place full of infinite wonder and possibilities. The belief in Santa Claus, the Easter Bunny and others fuels such innocence. Once their existence is questioned though, kids begin to slide down an unstoppable downhill slope that will inevitably result in adulthood. Most grown-ups likely envy children for their ability to believe in such mythical beings. How we all long to replace our adult cynicism and practicality with the magic and mystery of youth.