Disney’s Into the Woods is slated to be the biggest musical movie of the year, but, to moviegoers who didn’t go out… Read More
It’s hard out there for a teenager. It’s even kind of hard out there for those of us who used to be teenagers — especially in these back-to-school months, when the nostalgia comes creeping up like those floods we used to wear and never, ever should again. But you know who was probably even stranger than you in high school? Your favorite cultural icon. Or maybe not — as is only to be expected, some had joyful (and/or prank-filled) teenage years, some suffered tragedies, some were completely weird, some were popular, and some deserve our respect for even getting through. Click through to read 50 cultural icons on their teenage… Read More
There’s a new Tim Burton trailer in the world, and that means it’s time for one of the film fan’s favorite biyearly rituals: choosing up sides between “Ugh, Tim Burton” and “Maybe it’ll be a return to form!” His new film, Big Eyes, is based on the true story of painter Margaret Keane (Amy Adams) and her husband Walter (Christoph Waltz), who claimed credit for her work. It comes at a moment when Burton needs some sort of artistic redemption (even more than usual), but Big Eyes looks less like a filmmaker trying something new than trying a different variation on something old. Is there a busier yet more consistently disappointing auteur at work in contemporary Hollywood?
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Kevin Smith’s Tusk opens with the sound of two men laughing at their own jokes, so I guess a doff of the cap is due to the filmmaker for encapsulating his movie so efficiently, right from the jump. It’s not just that we’re hearing podcasters Wallace (Justin Long) and Teddy (Haley Joel Osment) giggling at their own presumed cleverness; we’re hearing filmmaker-turned-podcaster-turned-filmmaker-again Smith giggling at the fact that he even made this movie, devised off-the-cuff during an episode of his “SModcast,” its production put up to a fan vote on Twitter. But it’s not like the cult of Smith — and increasingly, over the past two years, that’s exactly what he’s sculpted his remaining fans into — was going to discourage its fearless leader from making a movie if he wanted to. And, for their trouble, he’s made a movie that they will surely devour without question. I’m just not sure where the hell that leaves the rest of us, because Tusk is a mess.
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I’m not sure how to feel about the trailer for Mortdecai, Johnny Depp’s latest “digestibly quirky” film — where his… Read More
I suppose one of the drawbacks of being the “editorial director” of a big site like Variety is that it might be hard to find an underling brave enough to give you proper editorial guidance. That’s the best explanation I can come up with for “Movies Stars are Endangered Species as Actors Struggle to Stay Relevant,” an aimless, toothless, and generally worthless op-ed from Peter Bart, the once-savvy Hollywood insider who these days pens the show-biz bible’s equivalent to those rambling, ellipsis-heavy nightmares Larry King used to write for USA Today. Bart, who was last heard weakly advising Jon Stewart not to direct movies because non-directors doing so never works out (Clint Eastwood, Woody Allen, and Orson Welles be damned), mostly just uses the “death of the movie star” canard as a weak peg for his incoherent ramblings about which actors he does and doesn’t like. But even if he’d bothered to mount a strong argument about the death of the movie star, he’d be wrong, and here’s why:
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