American - Writer | March 6, 1944 - April 23, 2015
A home movie of a fictional home life, an epic assembled from vignettes, 'Boyhood' shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.
Richard Corliss
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We all recall what is or was important to us and are astonished when it slips other people's minds. Perhaps we dismiss as irrelevant matters of crucial concern to those we love. That's life as most of us experience it, and which few movies document with such understated acuity as 'Boyhood' does.
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'Tammy,' the new movie starring, produced, and co-written by Melissa McCarthy, could be an artifact from some alternate universe: the creatures there resemble Earthlings but have an entirely different and debased idea of what's funny.
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In film schools of the future, professors will teach 'Tammy' as an object lesson in Making Everything Go Wrong.
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On 'American Top 40' the Kasem voice soared and swooped, like an expert aural acrobat, through promos, jingles and dedications, usually rising to a dramatic peak for the top-selling song of the week.
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Casey Kasem not only played the music of the stars, he also reached the sunniest-sounding celebrity on his very own. Listening to him on the radio, you could hear America smiling.
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Jolie's exotic mixture of brains and glamour makes her the one reliable international star, and one of the few of either gender to make people in every country pay to see her.
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At heart, 'Chef' is a daddy-daycare fable about an overextended man who teaches his 10-year-old son the family business and learns to love him.
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'Chef' is a dish of arroz con pollo served with a smile but not much style. The critic in the film would give it a low grade, for agreeability without ambition.
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If you were a kid in the 1950s, and you got nightmares from a story in a horror comic book, you have Al Feldstein to blame. If you were a kid in the '60s or '70s, giggling at 'MAD's prankster wit, you have Feldstein to thank.
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A movie like 'Transcendence' may be pertinent in its political reverberations of all computer data held in a cloud and monitored by the NSA, but it also rails against the tools its makers so artfully employ.
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Like 'God's Not Dead,' the fundamentalist Christian movie that has become a popular hit, 'Transcendence' is essentially a dramatized debate. And as 'God's Not Dead' stacks the rhetorical cards for the Deity's existence, the Pfister film eventually hangs back with the Luddites.
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