The Internet Movie Database is a fount of helpful information. With a few simple clicks, users can learn who shot the Miley Cyrus vehicle So Undercover (Things to Come cinematographer Denis Lenoir), which sequel in the Hellraiser franchise featured a performance from a young Adam Scott (the fourth one), or how old Taraji P. Henson is (who looks that good at 46?!). As a repository for loose factoids from in and around the world of screen entertainment, it can’t be beat. As a source for critical perspectives on those same films, however... hoo boy. Just take a gander at any comment section for a movie’s page and marvel at the IMDb is the site where rabid anti-Ghostbusters zealots congregated to downvote Paul Feig’s movie into oblivion weeks before its actual release, and the newly-released IMDb Top 10 provides an even clearer view of its user base.
It’s always exciting to see the latest work from a beloved director, or to watch a great actor return to a classic role. But one of the most underrated pleasures of going to the movies is discovery; watching an actor you’d never heard of before surprise you with their incredible range or charisma, or realizing, in real time, that you’re witnessing the work of a major new artist. It really doesn’t get much better than that.
With zero female-led superhero movies since 2008’s Iron Man, and one of the best movie trailers of the year, Patty Jenkins has a lot of expectations to fulfill with her upcoming Wonder Woman. Ideally, she shouldn’t, and we’d have an equal number of men and women leading the charge against Chitauri or Dark Elves or warmongering arms dealers, but the prospect of finally seeing a powerful lady at the center of her own movie is exciting nonetheless. But with all these guy protagonists out there, how do you make a female superhero relatable? It’s not actually that hard. Just treat her like a male superhero.
How you define the “best” of something varies from one person to the next. The “best” movies can be the ones crafted with the most artistry, the ones that feel particularly culturally significant, the ones you can’t shake hours, days, or months after seeing them. Or perhaps the best films are the ones you simply love the most and are eager returning to again and again.
It has long been a fine American tradition to escape the awkward enclosure of your parents’ house over your holiday vacation and spend a few hours in the local movie theater, where everyone can shut up about politics and stop swapping passive aggressive comments on each other’s lifestyle for a few hours. 2016 was no different, with Rogue One: A Star Wars Story and Sing drawing in the big crowds while La La Land and Fences impressed in limited release. Not so impressive: Passengers, Why Him?, and Assassin’s Creed, each of which underperformed.
Following Sunday night’s Critics’ Choice Awards, the Golden Globes nominations have arrived. On Monday morning, the Hollywood Foreign Press Association announced their nominees for the 2017 awards, recognizing the best in film and television.
While not quite an award season darling, one of the more anticipated movies of the next two months is Juan Antonio Bayona’s adaptation of A Monster Calls, a movie about a young boy who dives into a fantasy world to deal with the pain of losing his mother. Sitting as a cross between The Iron Giant and Calvin and Hobbes, A Monster Calls is a film about childhood loss; those who saw the film on the festival circuit have already described it as an earnest tearjerker, including our own Erin Whitney at the Toronto International Film Festival.
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