Putting Tom Hanks in the cockpit as everybody’s favorite aviator, US Airways Capt. Chesley Sullenberger, and bringing Clint Eastwood on board to direct him certainly sounds like a formula for high-flying success.
In the “humanoid made from synthetic DNA” genre, “Morgan” (Fox) is both unoriginal and omits even an occasional reflection on what it means to have a human moral sense.
Beginning with 1979’s “The Europeans,” the producer-director team of Ismail Merchant and James Ivory, whose partnership was already of 15 years standing, churned out a succession of high-quality period films. The duo’s pictures were famous for their lush cinematography, all-star casts and compelling story lines, usually based on a deep, dark secret.
For Arthur Bishop, the protagonist of the “Mechanic” franchise, the sole purpose of existence is to effectively dispatch bad people using elaborate, spectacular methods in exotic locales.
Moviegoers with long memories may recall director Terence Young’s 1967 adaptation of Frederick Knott’s play “Wait Until Dark” in which Audrey Hepburn portrayed a blind housewife forced to defend herself against three sighted thugs.
Luminescent, unflinchingly honest and respectful of belief, director Anne Fontaine’s drama “The Innocents” (Music Box) is a fictional story about a convent of Benedictine nuns in mid-20th-century Poland.
Two young Florida men become improbable arms merchants in “War Dogs” (Warner Bros.), a fact-based movie that hovers uneasily between raucous comedy and serious expose.
Subtitled “A Tale of the Christ,” Civil War Gen. Lew Wallace’s best-selling 1880 novel, which had previously been made into a wildly successful stage play, first reached audiences of the newfangled cinema way back in 1907. Since that adaptation was completely unauthorized, however, a lawsuit resulted that still stands as a landmark in the development of copyright protection.
Like the World War II-era New York socialite it profiles, “Florence Foster Jenkins” (Paramount), a charmingly eccentric blend of comedy and drama, has its heart in the right place.
NEW YORK (CNS) — “Love is an emotion, and emotions aren’t rational,” a character muses midway through writer-director Woody Allen’s seriocomic “Cafe Society” (Lionsgate). This variation on “the heart wants what the heart wants” — a saying ultimately traceable, in a slightly different form, to an Emily Dickinson poem — is not a lucid theme […]
NEW YORK (CNS) — It must have been a slow day in Hollywood when the proposal for the vapid comedy “Nine Lives” (EuropaCorp) got the green light. Or perhaps someone behind the scenes saw some potential in the project that failed to make it to the screen. Either way, the dead-on-arrival result, in which Kevin […]