5 items from 2015
Martin Carr reviews the second episode of Supergirl…
There are so many clever little touches in this second episode that people will be spoilt for choice. Taking the route of a superhero in training, Supergirl’s new throw of the dice shows progression without complacency. Testing speed, control and initiative in the field, Kara displays all too familiar character traits. Over confidence, impulsiveness and a need to enter the fray all rear their ugly heads this week.
Whether spreading a fire with ‘super’ breathe or moving tankers creating an environmental disaster zone, Benoist avoids cliché through charm and perkiness. It gets a little American sit-com when she whips around in a montage aided by James and Winn. But chiefly succeeds in entertaining rather than deviating into whimsy or kitsch. Back history is shared by Flockhart’s stone cold bitch of a boss, while adopted sibling Alex hands out pearls of wisdom. »
- Gary Collinson
Editor’s Note: This article was originally published November 1, 2012.
Fifty years ago this month, Marilyn Monroe passed away from a suspected accidental drug overdose (although conspiracy geeks love to contemplate more nefarious scenarios). The commemoratives are already showing up on magazine and newspaper entertainment pages, cable channels have announced their Marilyn film fests and documentary tributes. There’s little of worth I can add either in academic consideration or aesthetic appreciation to all the testimonials as well as the previous fifty years of ruminating in print and on film re: the lasting appeal of La Monroe. I can only wonder, with a sort of melancholy amazement, over the fact we’re still talking about her all these years later.
That persistent hold she has on popular culture is a fascinating study in itself. Her career had already been faltering when she died, she’s been gone a half-century, yet there »
- Bill Mesce
Elisabeth Moss plays a young woman in total psychological breakdown mode in Alex Ross Perry's Berlin premiere "Queen of Earth," a startlingly audacious departure for the writer/director that also feels like a natural progression for an auteur in the making. In a wildly unpredictable, rangy lead performance, Moss shows us dark sides of her we've never seen before. Perry tears shamelessly from the pages of the hysterical women canon, keying into Polanski's "Repulsion" and "The Tenant," Altman's "Images" starring Susannah York, a sort of proto-"3 Women" about a splintering female psyche, with shades of Bergman and, yes, Woody Allen's own strained Bergman homage "Interiors." The creeping zooms of Sean Price Williams' 16mm camera close in on the faces of Moss and studio turned indie starlet Katherine Waterston, framed in "Persona"-like juxtaposition to instill in us the sickening feeling that these two women are two »
- Ryan Lattanzio
Ron Moody in Mel Brooks' 'The Twelve Chairs.' The 'Doctor Who' that never was. Ron Moody: 'Doctor Who' was biggest professional regret (See previous post: "Ron Moody: From Charles Dickens to Walt Disney – But No Harry Potter.") Ron Moody was featured in about 50 television productions, both in the U.K. and the U.S., from the late 1950s to 2012. These included guest roles in the series The Avengers, Gunsmoke, Starsky and Hutch, Hart to Hart, and Murder She Wrote, in addition to leads in the short-lived U.S. sitcom Nobody's Perfect (1980), starring Moody as a Scotland Yard detective transferred to the San Francisco Police Department, and in the British fantasy Into the Labyrinth (1981), with Moody as the noble sorcerer Rothgo. Throughout the decades, he could also be spotted in several TV movies, among them: David Copperfield (1969). As Uriah Heep in this disappointing all-star showcase distributed theatrically in some countries. »
- Andre Soares
Like the best horror and opera, "They Shoot Horses, Don't They?" is always stylish and always grim. In the pantheon of essential movies you only need to see once because their impact is so specific and traumatizing, "They Shoot Horses, Don't They?" is my ultimate recommendation. It's a movie that promises cynicism from the get-go, accumulates snideness and rancor with each step of its harrowing Depression-era dance marathon, and -- without ever straying from its blatant nihilism -- offers up something beautiful: a story as carnivalesque as a Hitchcock thriller but as prescient as "Network." I refuse to tell you much more about it. I guarantee you will not regret watching it, and I promise you will wonder why its message, power, and performances aren't more vaunted. If you're not gasping at Susannah York's Oscar-nominated unraveling, you're shrieking at Gig Young's Oscar-winning lunacy. If Michael Sarrazin's plummy-eyed innocence isn't breaking your heart, »
- Louis Virtel
5 items from 2015
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners