The problem with Bombshell is that it doesn’t take women — or men — in any industry seriously.
How love feels to the lover who is swept into wisdom after suffering great loss.
Hanks emphasized the singular pleasure of doing one’s work, of doing it right, of doing it on deadline (and, by implication, on budget) and of doing it for one’s own sake.
The Cotton Club’s excesses ultimately align with Francis Ford Coppola’s bloodstained romanticism to pull off a uniquely American show of jazz.
The Star Wars inversion from 1977’s can-do Americanism to blank Nineties reboot and post-9/11 tribalism is complete. JJ Abrams directs and Kathleen Kennedy guides as Disney funds this mashup of mysticism and mainstreamed “social justice” pap.
Clint Eastwood’s Richard Jewell poetically depicts and pays tribute to heroism while deliverting a taut movie on American Injustice.
The two-hour drama plugs Fred Rogers’ ideal that living for your own sake, “without hurting yourself or others”, is ultimately like making for yourself heaven on earth.
Why Martin Scorsese’s Taxi Driver is Flawed, Engrossing and Prophetic About Today’s Culture
Unraveling the Mysterious Allure of David Lean’s “Lawrence of Arabia”
The Joker depicts with a penetrating portrayal by Joaquin Phoenix of the much-maligned, non-college-bred white male, which is why the “social justice” thugs hate this film sight unseen, the various factors that breed one of today’s most persecuted minorities, the American outcast, into monsters.
Scott Holleran on Bertolucci’s muted, mythological, China-themed masterpiece.
Robert Mayhew, a philosophy professor at Seton Hall University, is the author of Aristotles Criticism of Platos Republic, The Female in Aristotles Biology, and Ayn Rand and Song of Russia, and the editor of Ayn Rands Marginalia, Ayn Rands The Art of Nonfiction, Essays...