Dallas filmmaker David Lowery seemed well on his way to blockbuster territory with his last film, a stylized update of the ’70s Disney hit “Pete’s Dragon.” That destination seemed even more a certainty when word came out that he’d be remaking “Peter Pan.” But, for Lowery, the way to the Hollywood Hills still winds through the North Texas flatlands as he hasn’t forgotten his roots. “A Ghost Story,” a hypnotic, melancholic low-budget meditation on love, heartbreak, and memory that was shot in Irving, Fort Worth, and Dallas, is about as far away from Neverland as could be imagined.
For viewers who aren’t hostile to mysticism, vegetarianism and endless chanting, it’s a stirring story. Prabhupada arrived at a pivotal moment in American culture, setting up shop in a Lower East Side storefront behind a sign promising “Matchless Gifts.”
Not much can prepare you for the heart-stopping immersion of Christopher Nolan’s “Dunkirk,” his tribute to the World War II battle that looms large in the history and heart of England. The 1940 evacuation of more than 300,000 British soldiers from a French beach, under heavy fire from German soldiers and planes, was aided by a flotilla of small boats captained by civilians from across the English Channel. That show of bravery and solidarity is still spoken of today as “the Dunkirk spirit,” which Nolan presents beautifully in this simply astonishing cinematic achievement.
Thirteen and a half feet long, 12 feet wide, a tiny, brightly colored roadside house in Marshalltown, Nova Scotia, contained the married lives of Maud and Everett Lewis, a folk artist and a fish peddler, respectively, for 32 years.
Stephen Colbert began his recent interview with Andy Serkis by saying that whenever he hears people call the British actor an “amazing motion capture performer,” he can’t help but correct them. “I go, ‘No! He’s a fantastic performer who’s famous for doing motion capture,’ ” Colbert clarified.
Laughs are drying up at the multiplex, and it’s a trend that goes beyond this summer. Last year, the shockingly poor performance of Andy Samberg’s “Popstar” ($9.6 million in its entire run) foreshadowed the trouble to come. There have been some successes (“Bad Moms,” “Sausage Party,” “Trainwreck,” “Central Intelligence,” “Spy,”) but it’s been a long while since a cultural sensation like “The 40 Year-Old Virgin,” “The Hangover” or “Bridesmaids.”
“Wish Upon” revives the Orientalist mysticism at the heart of the teen-friendly “Gremlins” – an enigmatic Asian artifact leads to mayhem and murder – but it’s nowhere as entertaining as the 1984 horror classic.
The recent “Planet of the Apes” series feels like a miracle. Starting with “Rise of the Planet of the Apes” in 2011, followed by “Dawn of the Planet of the Apes” in 2014, and with this summer’s “War for the Planet of the Apes,” the blockbuster franchise has prioritized story, character and emotion without ever sacrificing spectacle.
As a genre, the romantic comedy has been on its last legs lately, mired in raunch and ribald jokes on the one hand, or insipid wish-fulfillment on the other. But an otherwise endangered form gets a welcome kick in the pants in “The Big Sick,” an exhilarating, utterly endearing movie that feels like both a return to classic principles and a bracing look forward.
Idaho Secretary of State Lawerence Denney has received a new letter from President Trump's election integrity commission requesting Idaho voter data, and this time it includes new assurances that none ...