"It's alive!" Well, barely. Guillermo del Toro's pointless adaptation of Mary Shelley's Frankenstein is Robert Eggers' Nosferatu all over again, a sumptuous but redundant retelling of a tale told 200 times too many. The writer/director has been trying to get this film made for three decades, and anyone familiar with his career knows of del Toro's fondness for monsters. But aside from his trademark over the top violence, del Toro has brought nothing new to the table here. His Frankenstein is twice as long as James Whale's and over an hour longer than Terence Fisher's, but it lacks the depth of either of those classics.
(NEW YORK, NY) -- Little Steven's Underground Garage, the world's only 24/7 rock & roll radio format dedicated to the coolest music ever made, has announced the launch of a brand-new weekly program: Robbo At The Movies, championing music and movies together, hosted by Robert Cotto of Renegade Nation and Wicked Cool Records.
Given its subject matter, you might expect writer/director James Vanderbilt's Nuremberg to be another awards bait snoozer, the sort of film schoolkids will be forced to sit through when their History teacher wants to catch up on correcting homework. But Vanderbilt is the screenwriter responsible for David Fincher's Zodiac, arguably the best movie based on real events to come out of Hollywood this century. By narrowing his focus on two men, Vanderbilt has crafted a riveting film that grounds a global spectacle in the brief relationship between these two figures.
Marine scientists in Tuckerton, NJ, are witnessing firsthand how rising ocean waters one day will permanently shut down their research station.
"I know who you are." "That makes one of us." That exchange between a star struck car salesman and Bruce Springsteen gets to the heart of writer/director Scott Cooper's music biopic Springsteen: Deliver Me from Nowhere. Like most good biopics, Cooper's film narrows its focus to a specific chapter in its subject's life. In this case it's 1981 and Springsteen's writing and recording of 'Nebraska', considered by many as The Boss's greatest work.
"It's alive!" Well, barely. Guillermo del Toro's pointless adaptation of Mary Shelley's Frankenstein is Robert Eggers' Nosferatu all over again, a sumptuous but redundant retelling of a tale told 200 times too many. The writer/director has been trying to get this film made for three decades, and anyone familiar with his career knows of del Toro's fondness for monsters. But aside from his trademark over the top violence, del Toro has brought nothing new to the table here. His Frankenstein is twice as long as James Whale's and over an hour longer than Terence Fisher's, but it lacks the depth of either of those classics.
Given its subject matter, you might expect writer/director James Vanderbilt's Nuremberg to be another awards bait snoozer, the sort of film schoolkids will be forced to sit through when their History teacher wants to catch up on correcting homework. But Vanderbilt is the screenwriter responsible for David Fincher's Zodiac, arguably the best movie based on real events to come out of Hollywood this century. By narrowing his focus on two men, Vanderbilt has crafted a riveting film that grounds a global spectacle in the brief relationship between these two figures.
"I know who you are." "That makes one of us." That exchange between a star struck car salesman and Bruce Springsteen gets to the heart of writer/director Scott Cooper's music biopic Springsteen: Deliver Me from Nowhere. Like most good biopics, Cooper's film narrows its focus to a specific chapter in its subject's life. In this case it's 1981 and Springsteen's writing and recording of 'Nebraska', considered by many as The Boss's greatest work.
Jang Joon-hwan's 2003 Korean sci-fi comedy Save the Green Planet! was part of that Millennial wave of East Asian genre movies that developed cult followings among western audiences. Many of those films received inevitable, and inevitably disappointing, Hollywood remakes, and now two decades later Jang's film receives am English language remake from an unlikely source: the Greek absurdist auteur Yorgos Lanthimos.
Fittingly, The Mastermind receives its release in the wake of a headline-grabbing heist at the Louvre. The criminals responsible for that robbery employed methods that suggest they're not students of French heist movies. There was no ingenious plan to break in through the roof or via an adjoining building under cover of darkness; instead the thieves went to work with angle grinders in broad daylight. Kelly Reichardt's film is inspired by a similar 1972 incident in which thieves entered the Worcester Art Museum in Massachusetts during opening hours and walked out with four valuable paintings.
