The new horror film “The Purge” is a modest success, more like “Sinister” than like “Fright Night,” but without either one’s supernatural element. What is causing the problem for the middle class family of four in the new film is a nationwide social experiment.
For four months each summer, Reggie Busse lives in Switzerland in a house with 11 other people while she works for an adventure tourist company. For the remaining eight, Busse, a K-State alum, travels the world, living as cheaply as she can to stretch those
This month several of the more heavily-advertised films of the spring will be stocked on the New shelves at the video store. They include a me-too sort of road comedy called “Identity Thief.” The special effects-heavy movies for the month are about fantasy worlds, but
I have a new index scheme for judging general release movies. The worse they are, the greater number of ticket-holder cell phones will be lit up during the showing. The little lights glaring in one’s face from phones farther forward in the theater indicate
In telling a complicated story, writers should not have characters act in ways that are contrary to their own best interests. This is true even when a surprise ending requires that the characters’ interests are different than what we might expect. Perhaps I should make
As the recent Baz Luhrman-directed version of “The Great Gatsby” suggested, there are stories the movies can’t tell really well. Film is probably most successful when it is giving us a horror story. In second place might be the action story, like those in
I re-read what I wrote about “The Hangover” and “The Hangover 2,” movies made by Todd Phillips. I was looking for some tip off in the genuinely funny first movie and the slavishly similar second movie that they were intended as the first two in a
Having seen and enjoyed the perfectly-cast 2009 “Star Trek,” I shared the enthusiasm of the throngs entering movie theaters last weekend to see director J.J. Abrams’s new movie, “Star Trek: Into Darkness.” Abrams has the knack, after all. And his terrific cast—Chris Pine
The latest film version of F. Scott Fitzgerald’s novel “The Great Gatsby” does a decent job of recalling the story. So what’s with the “Catcher in the Rye” business at the beginning and the ending about Nick Carraway telling history to a psychiatrist?
Steven Sondheim’s bumptious Into the Woods got a solid treatment last week in Junction City’s attractive Hoover Opera House. The production, presented by J.C.’s venerable and accomplished Little Theater company, made use of area talent to give the late 1980s show