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LOS ANGELES — With less than a week to go before the Academy Awards, the Dolby Theatre in the heart of Hollywood is on lockdown. Guards stand at every door, and handlers with walkie-talkies keep a close eye on any visitors.
Remember the good old days when a big-budget action picture could earn a hard R rating? It looks like those days are officially dead. “Die Hard,” “The Terminator,” “Total Recall,” these were three of the best action movies of the late ’80s and early ’90s, complete with all the gleeful violence and profanity a kid could desire. Nowadays, everything must be toned down to a PG-13 rating, including the recent sequels and reboots of the three aforementioned films.
Comic book movies are increasingly, like Sandra Bullock in "Gravity," lost in space.
The obsession began somewhere around the same time I got my first pair of Underoos.
AFN staff writer Jason P. Skoda fulfilled a lifelong obession of being a pseduo superhero as he and his buddies participated in the Ridiculous Obstacle Challenge 5K over the weekend.
Tom Hanks didn’t know where the cameras were.
“Kick-Ass” was one of those movies that seemed to have everybody split. Either you found the film morally reprehensible or you soaked up every minute of the film’s colorful violence and profanity. Personally, I was among the latter group.
In a cluster of big-budget extravaganzas about superheroes, zombies, robots, monsters, and things that blow up, two little comedies about the magic of summer have stood out this season. One of these films is “The Kings of Summer,” perhaps the most overlooked picture of the year, thus far. The other film is “The Way, Way Back.” Both of these movies are humorous and identifiable with a familiar, yet eternally meaningful, message about growing up. “The Kings of Summer” and “The Way, Way Back” additionally seem to exist in timeless eras, mostly devoid of new-aged technology and modern references. There’s just one key difference between the two coming-of-age tales.
The round, white, paper light shades sold at IKEA for $5 are a familiar item in contemporary interior design. But these inexpensive lanterns are knockoffs of light sculptures created by the renowned artist Isamu Noguchi in the early 1950s.
Baseball players on the Ahwatukee Little League Majors squad are too young to hear a Herb Brooks-type pregame speech.
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).
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.
In the galaxy of big-screen superheros — a rather glum lot — Robert Downey Jr.'s Iron Man is the snappy one.
Arizona State University’s Project Humanities is presenting “An Evening with Riva Yares” April 24 as part of the Project Humanities spring kick-off series, “Heroes, Superheroes, and Superhumans.”
By now it's clear that nothing and no one can kill Bruce Willis, whose fifth film in the "Die Hard" franchise, the horribly titled "A Good Day to Die Hard," opened last week.
Look! It’s a bird! It’s a plane! It’s … well, you know the rest.
February begins Arizona State University�s Project Humanities kick-off series, �A Closer Look at Heroes, Superheroes and Superhumans.� It�s a week-long event that crosses all four ASU campuses and several off-campus locations. The series examines what heroism is in life and in pop culture, the evolution of superheroes in comics and film and several other topics that deal with heroism and superheroes.
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.
With trials, suffering and hardships, a community’s strength can be refined.
To his closest friends and family, he was loving, generous, funny, always willing to help others, and had a bright future ahead of him.
It is with great sadness that I write this — there will be no more new Christopher Nolan Batman movies.
Superman may be the most iconic of superheroes, providing people with a symbol of hope and setting an example for all mankind. But if you asked anyone who is the more interesting superhero, Batman or Superman, they would likely reply, “Batman,” in a heartbeat. But what is it that makes Batman so much more compelling than not just Superman, but Green Lantern, The Flash, Wonder Woman and various other superheroes? Is it because of his tragic past, dark persona, lack of superpowers, or endlessly impressive rouge gallery? That all certainly contributes to Batman’s appeal. On the whole though, Batman is all about great character development and storytelling. This is what has made Batman such an eternal character, from his first appearance in the comics to Christopher Nolan’s latest “Dark Knight” trilogy.
AURORA, Colo. (AP) — A former medical student in a gas mask barged into a crowded Denver-area theater during a midnight showing of the Batman movie on Friday, hurled a gas canister and then opened fire, killing 12 people and injuring at least 50 others in one of the deadliest mass shootings in recent U.S. history.
A good trilogy centered on a superhero has yet to be accomplished. Some series, such as “Superman” and Sam Raimi’s “Spider-Man,” have come close to having a great trilogy. But whether it’s due to Richard Pryor or an idiotic dance sequence, they always seem to screw up the third installment. Christopher Nolan is the first filmmaker to completely nail a superhero franchise from beginning to end. “The Dark Knight Rises,” his grand conclusion to the Batman saga, is a film well worthy of its two exceptional predecessors. To call this the pinnacle collection of superhero pictures goes without saying. But “The Dark Knight Rises” additionally engraves Nolan’s take on the Batman legend into the history books as one of the best movie trilogies of all time.
Christopher Nolan concludes his Batman trilogy in typically spectacular, ambitious fashion with "The Dark Knight Rises," but the feeling of frustration and disappointment is unshakable.