This article is not so much a film critique as it is an attempt to extract some ultimate meaning from this popular flick.  I do not attend the theatre as often as I would like or can afford, but when I do I find myself constantly trying to perceive applicability to real life from what I see on screen.  I am fascinated and beguiled by the world of visual narrative, and I believe we are

I have never seen a film quite like this: a hyperkinetic, utterly relentless aural and visual onslaught that somehow never runs out of gas. George Miller’s postapocalyptic action spectacle is a thrilling summer movie if ever there was one, and demands to be viewed on the largest screen possible (if it’s between this and “Age of Ultron,” see “Fury Road”). The aesthetic is almost indescribable: a grungy ultra-saturated color palette coupled with outlandishly stylized dieselpunk

Artificial intelligence is clearly the menace of the cinematic hour. The old menace posed by the Skynet of the “Terminator” franchise has taken on additional credibility in the era of “big data,” which offers the possibility of algorithmic analysis on a heretofore undreamt-of scale. Alex Garland’s recent thriller “Ex Machina,” however, trades guns for words and explosions for psychological turbulence, raising fundamental questions within a deeply intimate context. “Ex Machina” opens as Caleb Smith (Domhnall

After living through a decade or so of superhero epics, I’m starting to feel a bit fatigued by the whole thing: Christopher Nolan’s Batman trilogy is done, Sam Raimi’s Spider-Man series was unceremoniously truncated, and the prospect of additional Wolverine-centric X-Men films is looking a bit dim. That said, last summer marked the release of my favorite Marvel film to date – “Guardians of the Galaxy” – so clearly there’s still some gas in the

As “big, dumb movies” go, the last few “Fast and Furious” films are some of the best – they’re solidly character-driven, and generally pack an emotional heft beyond your average superhero flick. “Furious 7” is no exception: it’s a briskly paced, action-drenched adventure that hits a new high point for the franchise. In a nutshell, the “Fast and Furious” series centers on Dom Toretto (Vin Diesel), Brian O’Conner (Paul Walker), and their team of exceptionally

This past Sunday, as America commemorated the 50th anniversary of “Bloody Sunday” and the civil rights march from Selma to Montgomery led by Dr. Martin Luther King Jr., I decided to take my 10-year-old daughter to see the film Selma. I am so glad I did. It was one of the most important and powerful films I have ever seen. I was brought to tears during the opening scenes of the film.   Selma opens

The trailers for “Jupiter Ascending” were works of art. I’ve seen a lot of movie promos, but few have grabbed my attention like the artfully composed teasers for Andy and Lana Wachowski’s latest high-dollar project. Despite disappointing reviews, I figured I’d give it a shot – after all, it looked like a nice distraction in the midst of art-movie season (and bitter New England wintertime). Simply put, “Jupiter Ascending” is a hot mess of a

Most of the reviews I write deal with blockbuster movies, since that’s the type of film I know most readers will be seeing. That said, I also try to make a point of engaging with art that falls outside the domains with which I’m conventionally familiar. Since I happen to already be an Amazon Prime subscriber, I thought I’d give “Transparent” a look (particularly given how much I enjoyed Amazon’s “Mozart In The Jungle,” which

Clint Eastwood’s biographical study of Navy SEAL Chris Kyle – a sniper credited with over 160 confirmed kills, the most in U.S. military history – will likely be remembered as the “Saving Private Ryan” of the Iraq War. This will undoubtedly seem high praise for a film which just opened in wide release: “American Sniper,” however, not only offers an exceptional character study, but brilliantly captures the conflicted cultural ethos surrounding a war to which

Much talked about, “The Interview” is pretty straightforward: TV host Dave Skylark (James Franco) and his producer Aaron Rapaport (Seth Rogen), while planning a trip to Pyongyang to interview dictator Kim Jong Un, are recruited for a covert assassination mission by CIA agent Lacey (Lizzy Caplan). The resulting chaos involves puppies, Katy Perry’s “Firework”, tank battles, fake grapefruits, basketball games (a satisfying potshot in Dennis Rodman’s direction) and giant Siberian tigers, among other things. John Ehrett offers his review.

Few movie stars are more ubiquitously typecast than Benedict Cumberbatch, whose rise to cultural prominence has been nothing short of meteoric. Cumberbatch is now a go-to star for directors seeking a genius or supervillain, coupling a certain aristocratic British charm with a Sheldon Cooperesque tendency to hold average society in utter contempt. “The Imitation Game,” in which Cumberbatch stars as cryptologist and early computer engineer Alan Turing, capitalizes on these strengths while simultaneously probing deeper.

“Can you love your neighbor as yourself and at the same time knee him in the face as hard as you can?”   The recently released documentary Fight Church is a fascinating narrative that seeks to understand the intriguing intersection between Christianity and Mixed Martial Arts (MMA). It spotlights the ministries of numerous pastors who live both as leaders of church congregations and of MMA “fight ministries,” where “feet, fist, and faith collide.” Numerous subplots

Some thoughts are too big for fiction and movies. I was thinking that when I watched God is Not Dead for the first time a few weeks ago. Yes, I put it off for as long as I possibly could. As much as I like to support Christian films (I am a film script writer, after all), I find that I cringe my way through many of them. Though there were some commendable points to