Larry Thomas has a review of the new sci-fi thriller, Snowpiercer.
If you’re tired of the sci-fi genre being hijacked just so Tom Cruise can make another movie, or director Michael Bay can churn out another overlong, turgid Transformers epic, then there’s a new film you should flock to immediately. It’s called Snowpiercer and it’s not playing everywhere, so you’ll have to seek it out.
Larry Thomas recounts the careers of four actresses - Lana Turner, Jayne Mansfield, Katharine Hepburn, and Rosemary Clooney – who, besides being exceptionally talented, have a very strange connection: they all died on June 29 (in different years.)
Once again it’s summertime, and the living is… well, in many instances… mobile. What with enjoying the seasonal events and travels, and the upcoming weekend of big racing at the Kentucky Speedway, I started thinking about the symmetry between two of Americas great loves: cars and movies.
With all the various platforms available for movie delivery these days, there are some films that totally slip by unnoticed, since they don’t get a regular theatrical release. Such is the case with The Angriest Man in Brooklyn. It had a one-week run in New York and Los Angeles, and then went to the video-on-demand section of your cable or satellite provider. Despite the title, and presence of star Robin Williams, it’s not a comedy. Williams plays an attorney in Brooklyn whose hard knocks have completely soured him on life, and he’s determined to take it out on anyone who’s handy, which he does with great regularity. A minor incident causes him to go to his doctor, who is out of town. The attending physician tells Williams that a previous scan revealed a brain aneurism and that he is likely to die within the next ninety minutes. So what would you do in such circumstances? Live it to the fullest? Try to reconnect with those from whom you are estranged? Or be even angrier?
In the never-ending search for critical adoration and separating moviegoers from their hard-earned dollars, filmmakers seem to embrace the theory that “more IS more.” They try to cram 10 pounds of “stuff” into every two-pound bag to appeal to as wide an audience as possible. That’s to be expected with the blockbuster films, but it sometimes works its way into the smaller, low-key titles as well.