The new film “Dope” is an odd mix of familiar things. It resembles nothing so much as an Archie and Jughead comic except that all the characters are African-American, the setting is contemporary Los Angeles, and the language and business concerns have largely been borrowed
On its surface, “Inside Out” is a story about a happy 11-year-old girl named Riley (Kaitlin Dias) from a small Minnesota town who must adjust to a new life when her family moves to San Francisco. However, the real story in the bright, complex Pixar
Because movies cost so much to make, usually there is some sort of clear commercial precedent for each new general release film that comes to town. This isn’t a new trend—Robert Altman’s 1992 movie “The Player” suggested it was already a common practice.
Remember the first two “Insidious” movies? If you’re not a horror flic fan or weren’t 15 years old when the movies came out, you probably don’t know anything about them. But fans and the PG13 crowd will recall the first two pictures in
For some strange combination of reasons, June will be a swell month for movies newly released on home viewing media. There have been some months recently when “Chappie,” “Serena,” and “Project Almanac” might have been the big titles. This month they are the slough. This
Cameron Crowe’s new film, “Aloha,” was released the same summer blockbuster weekend as an explosion-fest about an earthquake, a movie featuring a professional wrestler. Now “Aloha” has a big visual event for its climax. But is it noisy enough to satisfy the out-of-school kids
Chuck Berry plays once a month at a bar in St. Louis. He’s 88 years old. But Bob Dylan is still out on the road, and I heard him play a show full of references to age in Kansas City early in May. The Rolling
The new “Poltergeist,” a re-make of Tobe “Texas Chainsaw Massacre” Hooper’s 1982 movie is the classiest horror film I’ve seen in a long time—at least since the terrific re-make of “Fright Night.” The new film, directed this time by Englishman Gil Kenan and
The business of making a sequel to a cozy sort of movie comedy seems as if it ought to be simple enough. Three years ago, when “Glee” was still a popular television program, the first “Pitch Perfect” movie earned a reported $65 million in the U.
Until August, one can expect big, noisy, ticket-selling movies to be released about one a weekend. So it is a little odd that for the second weekend of May there was only one general release picture. And it is not big. At all. It is
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