“Woodstock: Three Days that Defined a Generation,” opens with chaos. Understaffed, overcrowded and unprepared, the festival crew is shown trying to adapt to a thunderstorm that could potentially derail the whole festival.
Making a movie is hard work. Making a monster movie is even harder. Making a good monster movie may be one of the hardest things to pull off in Hollywood.
On the last day of high school, overachiever Molly (Beanie Feldstein) comes to the earth-shattering realization that it’s possible to excel in school and party. She and her best friend Amy (Kaitlyn Dever) then spend the next hour and a half of the film trying to cram four years of partying into one night, but things don’t quite go according to plan. This is the premise of “Booksmart,” actress Olivia Wilde’s directorial debut that is a heartwarming tale of friendship as well as an impressive comedy.
As the director of “The Descent” and “Dog Soldiers,” Neil Marshall is no stranger to tackling macabre and unearthly stories. While the “Hellboy” universe seemed like the perfect playground for him, the film is lifeless and falls flat despite the gratuitous amount of blood and gore and David Harbour’s solid performance as the titular character.
In August of 1819, 80,000 people rallied together at St. Peter’s Field, Manchester, in order to seek representation and reform. The peaceful demonstration soon turned into a frenzy, when the cavalry were ordered to enter and disrupt the people. This devolved into a violent massacre that led to hundreds of injuries and some deaths.
Police checkpoints and investigations of a thousand-men sting operation couldn’t stop outlaws Bonnie and Clyde, but two former Texas rangers did. Frank Hamer and Manny Gault were two highwaymen who brought an end to the criminals in 1934.
Jordan Peele shattered expectations with his directorial debut “Get Out.” Not only did it tap into the zeitgeist, but it also provided a darkly humorous and equally scary take on American race relations. In his sophomore effort, “Us,” he expands the lens of his commentary by exploring recurring conflicts within American identity.
In 2017, American entrepreneur Billy McFarland and rapper Ja Rule presented an exclusive weekend extravaganza on an island previously owned by Pablo Escobar, the notorious Colombian drug lord. Jerry Media, a successful marketing company, promised a star-filled line-up as they posted advertisements that featured Bella Hadid, Emily Ratajkowski, Hailey Baldwin and other models. Tickets to the event soared up to $250,000 and sold out within 48 hours.
The original “How To Train Your Dragon” made huge waves when it premiered in 2010. Not only was it visually stunning, it was also emotional and action-packed, setting the bar high for its sequels. How To Train Your Dragon 3: The Hidden World marks the conclusion of Toothless and Hiccup’s (Jay Baruchel) story and it does not disappoint, boasting quality animation, fantastic flying setpieces and a strong emotional core.
“Okurrr!” Chuckles rippled throughout the theater as Ali Davis (Taraji P. Henson) appeared on screen, speaking to her assistant after jumping off her in-home treadmill triumphantly. The scene instantly set the tone for Henson’s sassy, strong-willed character, which was enough to leave audiences laughing while feeling a little intimidated. But despite the cast’s convincing performances and humorous attempts, the film often fell flat in places where it sought to address deeper issues in the workplace.
On Plymouth Island, everybody thinks they know everything, but the truth is, nobody knows anything.
If you’ve kept up with the DC extended universe (DCEU), which, as lowly box office sales report, many of you have not -- then you are probably looking forward to James Wan’s “Aquaman” coming out this weekend.
Baird directs “Stan & Ollie,” a film that chronicles the late careers of the iconic comedy duo Stan Laurel and Oliver Hardy as they embark on their final theater tour. During the tour however, they come to realize that they’re not as popular as they used to be, nor as young and spritzy.
Tish and Fonny, separated by a clear window at a local jail, speak to one another on the phone. Through just a few words, their love is palpable, and through just a few glances, their separation is painful. We, as viewers, are quickly anchored to the characters.
When you decide to watch a documentary about food, whether it’s a feature length piece on the industry as a whole (ala “Food, Inc.”) or an episode from Food Network’s seemingly endless supply of shows about chefs eating food at other restaurants, there’s always the expectation that you’ll at least get to look at some tantalizing shots of the meals themselves.
Directed by Steven Caple Jr, “Creed II” ties the new franchise closer to the “Rocky” series, summoning a sequel that’s tied closely to the events of the fourth “Rocky” film. In this latest installment, Adonis Creed (Michael B. Jordan) is challenged by Ivan Drago (Dolph Lundgren) and his son (Florian Munteanu) to a boxing match, a fight that carries an incredible amount of baggage, for both Creed and Rocky Balboa (Sylvester Stallone).
The simple routine that Ralph and Vanellope (Sarah Silverman) have at the beginning of “Ralph Breaks the Internet” is suddenly upheaved when Ralph (John C. Reilly), the loveable and naive good-guy who is unable to avoid his destructive behavior, ends up breaking his best friend’s game.
What is the power of influence over film?
Jason Reitman’s latest film tells the true story of Senator Gary Hart (Hugh Jackman), who was embroiled in a controversy regarding an extramarital affair while running for the Presidency in 1988. The film covers the three weeks from when the information reaches the press, to when he eventually drops out of the race. “The Frontrunner” however never has anything to say, and just lets the story unfold without ever divulging anything interesting.
Even if one hasn’t seen Buster Keaton’s films, they are sure to have seen one of the many gags he created in other iconic films and television. Buster Keaton was not only an incredibly comedic performer, but also a filmmaking pioneer. In this entertaining tribute, Director Peter Bogdanovich shows just how his comedy bits and setpieces, especially in the 1920s, kept pushing the boundaries of what could be possible on the silver screen.