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.
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.
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.
As the Dustin Hoffman and Jon Voight film turns 50, Scott Holleran explores the reasons for the controversial box-office hit and the impact of its legacy.
Gone with the Wind is an expression of the ability of the individual to resist the times, the trials and ruins of the day, rise and never let one’s ego be destroyed.
A simple American story about a man and the work and woman he loves makes director Sam Wood’s biopic, authorized by Chicago White Sox pitcher Monty Stratton, a compelling and inspiring motion picture.
Scott Holleran met with writer and director Robert Benton to talk about his distinguished career. 1979’s Kramer vs. Kramer won the Best Picture Academy Award and earned Benton two Oscars for Best Screenplay and Best Director.
Two plot points serve as bookends for the plot and theme of writer and director Rawson Marshall Thurber's Skyscraper. They're mercifully on time and surprisingly simple yet effective. I wish the movie's gratitude theme was layered with more...
The second remake of William Wellman's historic A Star is Born (1937) suffers from the same or similar problems as the Fifties' Judy Garland vehicle. Going with the same iconic title as the original and the 1954 film, the 1976 version also puts...
Hollywood's first remake of William Wellman's searing 1937 tragedy, A Star is Born, neither enhances nor detracts from the original. Director George Cukor, working from Moss Hart's screenplay (based upon the original script), mixes music into the...
This year marks 40 years since Paramount Pictures debuted its other big box office hit in 1978. Heaven Can Wait, not to be confused with the delightful Ernst Lubitsch comedy with the same title, was released within weeks of Paramount's popular...
With the same voice cast and writer and director, Brad Bird, as the 2004 original, this Pixar sequel, which is being released 14 years after its animated characters debuted, offers more of the same. By my estimate, and I enjoyed The Incredibles...