‘Less is more’ works for atomic monsters, too. Jun 2, 2014, Vol. 19, No. 36 • By JOHN PODHORETZ
Why does it feel like a modest triumph that the new version of Godzilla is actually not bad? This is really the best thing to say about Godzilla—if said in a surprised, huh, who’da thunk it? kind of way: Hey, not bad! It’s an achievement of a kind when a film about a rubber-suited character featured in some of the most infamously ridiculous pablum ever made (Godzilla vs. Mothra, Godzilla vs. SpaceGodzilla) doesn’t make you giggle.
A landmark in cinematic self-love.Jun 3, 2013, Vol. 18, No. 36 • By JOHN PODHORETZ
Not once, not twice, but three times in the course of the 86-minute running time of the extravagantly praised Frances Ha is the title character shown running through Manhattan. Once, we see her running with her best friend. Another time we see her running to find an ATM. Then we see her running while improvising dance moves.
Impressive intentions yield less-than-impressive resultsApr 29, 2013, Vol. 18, No. 31 • By JOHN PODHORETZ
What does it mean to say a movie is an “epic”? An epic uses its characters and plot to illuminate a place, an era, an entire society. We are constantly being reminded, through camera work and art direction, that what we’re watching is something larger and more socially significant than its plot. The action is always placed within a wider context, historically and geographically, and the characters we’re watching move through the story as though they are actors on a grand stage.
A sweet sideshow in South Vietnam.Apr 15, 2013, Vol. 18, No. 29 • By JOHN PODHORETZ
The surprise of The Sapphires is how unpretentious and unportentous it is, considering that its plot hinges not only on racist Australian policy but also the Vietnam war. Based loosely on a true story, The Sapphires is about four aboriginal girls (ranging in age from 15 to mid-20s) who turn themselves into a girl group and go on tour in Vietnam in 1968 entertaining the troops.
6:00 PM, Apr 11, 2011 • By EMILY SCHULTHEIS
Kelly Jane Torrance reviews Joe Wright's new movie, Hanna:
Films are sometimes described as "vehicles" for the big names that headline them. "Arthur," the remake of the 1981 film that opened this weekend, was made simply to showcase the outsize personality of Russell Brand. It's not often a film looks like a vehicle for a young, relatively new talent -- let alone one with a name few Americans can even pronounce.
It’s not the usual obstacle in the way of romance.Mar 21, 2011, Vol. 16, No. 26 • By JOHN PODHORETZ
The Adjustment Bureau
Directed by George Nolfi
The Adjustment Bureau is the most surprising movie I’ve seen in ages, a full-fledged, unabashed, swoony romance in the guise of a paranoid science-fiction thriller. Every romance is about a couple meant to be together that must navigate and overcome the obstacles the movie strews in their path. The Adjustment Bureau turns this on its head. It’s a movie about two people who are not supposed to be together. The force pulling Matt Damon and Emily Blunt apart isn’t family, or career, or an inconvenient partner. It’s God. God Himself doesn’t want them to be together. How can two people overcome that? And should they?
How one Roman legion held together against the common enemy.Feb 28, 2011, Vol. 16, No. 23 • By JOHN PODHORETZ
Directed by Kevin Macdonald
Modern British history as the cinema likes to remember it.Feb 7, 2011, Vol. 16, No. 20 • By JOHN PODHORETZ
The King’s Speech is a winsome fantasy, as unreal in its way as Avatar. The science-fiction blockbuster succeeded in making an entirely animated world seem as though it actually existed. The King’s Speech, set in 1930s Britain and featuring famous personages, converts a stratified historical past into a comforting egalitarian dreamscape.
A classic gets the Coen Brothers treatment.Jan 17, 2011, Vol. 16, No. 17 • By JOHN PODHORETZ
Directed by Ethan and Joel Coen
'Never Let Me Go' is really about cloning, no matter what they say4:26 PM, Oct 12, 2010 • By GINA R. DALFONZO
Never Let Me Go is a haunting exploration of what humans can do to one another, how they can attempt to redefine the very concept of humanity in order to exploit those they see as subhuman. It tackles these themes as skillfully and memorably as any film of recent years, perhaps even more than most. It does this by taking an idea that’s usually relegated to loud, explosive action films and spinning it into a quiet, deeply powerful drama.
An interesting failure, with a 3-D spectacle.
12:00 AM, Mar 5, 2010 • By SONNY BUNCH
When thinking about Tim Burton’s latest film, one phrase kept popping into my head: “Interesting failure.” It’s not the first time those two words have been fused together to describe a Burton feature: The gothic-minded filmmaker has a penchant for churning out films that look fantastic but never quite mesh together into a satisfying whole.
Consider his latest, a pseudo-sequel to Lewis Carroll’s classic, Alice in Wonderland. Burton’s feature is set a decade or so after the events of Carroll’s book. Alice is grown, having forgotten her first venture into the world of Wonderland and has a lord waiting to ask her hand in marriage. Feeling pressure from all sides and no control over her own destiny, Alice takes off, chasing a white rabbit down a hole and returning to Wonderland.
A liberal masterpiece?12:00 AM, Feb 26, 2010 • By SONNY BUNCH
As far as utterly pointless, unnecessary retreads go, The Crazies isn’t all that bad. The lead actors – Timothy Olyphant and Radha Mitchell – are both far superior to their counterparts in the original 1973 film from George Romero. The camerawork is more slick and the editing less choppy. The special effects have been buffed and given a nice, glossy sheen.
The plot remains relatively simple: A military airplane has crashed outside the Iowa hamlet of Ogden Marsh, releasing a deadly virus into the water that turns people into murderous “crazies.” Aware of the disease and the threat it would pose to life as we know it if it were to spread, the military initiates a quarantine and separates the sick from the healthy.