One measure of the affection (and, yes, lust) that has accrued to Robert Redford over his decades in movies is, when he walks into a bank in “The Old Man and the Gun,” we reflexively wonder, is he “walking” like an old man or does he, at 82, now walk like an old man?
Actually, in keeping with the delicacy of the acting ego, Redford is playing younger than his age.
A star isn’t exactly born in the newest iteration of the well-worn classic. After all, most of us have heard of Lady Gaga somehow, somewhere.
Besides, this isn’t even – technically – her feature film debut. According to IMDB, she’s already appeared on the big screen in “Machete Kills” “Muppets Most Wanted” (as herself) and “Men in Black 3” as “alien on TV monitors.”
Taken on purely architectural terms, the titular structure in “The House with a Clock in Its Walls” is a cunning cross between the “Addams Family” manse and Mother Bates’ place in “Psycho.”
Cinematically, however, it’s on far trickier turf. Eli Roth, who took torture-porn to new…heights?…in “Cabin Fever” (which I saw and admired) and the “Hostel” movies (I took a pass), makes a bid for Tim Burton territory. In many ways, he’s successful.
Filmmaker Marc Forster spends much of “Christopher Robin” trying to find that “Finding Neverland” sweet spot he worked so successfully in the 2004 Johnny Depp movie about James M. Barrie, the author of “Peter Pan.”
Not that the two are really very similar, but both pose the singular challenge of creating a film that appeals to both child-like adults and bonafide children. Peter Pan and Winnie the Pooh share that peculiar territory (for better and worse) and both require careful handling when it comes to circling said territory.
Whether it means to or not, the last thing the documentary “Love, Cecil” will do is get you to, well, love Cecil.
Cecil in this case is Cecil Beaton, photographer, author, designer, social butterfly and stylist extraordinaire. To her credit, filmmaker Lisa Immordino Vreeland reminds us that Beaton was virtually incapable of making an aesthetically clumsy choice.
Everybody finds the first day of college a little weird, but it was, well, doubly so for Bobby Shafran.
When he arrived at Sullivan County Community College in 1980, total strangers were happy to see him. Guys high-fived him. Girls gave him a hug. Finally, someone put, well, two and two together and asked him if he was adopted. He was.
Steve Murray, my former colleague at the Atlanta Newspapers, is one of the best movie critics, anywhere, ever. Together, we had to suffer through some pretty vile stuff over the decades. Sometimes, when something got jaw-droppingly repulsive, he would lean over and whisper plaintively, “Make it stop….”
Oh, how I thought of him during “Ready Player One.”
If you’re the sort of dog lover who choked up when Lassie came home, “Isle of Dogs” may not be for you.
If, however, you are an ardent fan of all things Wes Anderson, well, this movie is about as Wes Anderson as it gets.
Best known for such live-action features as “The Royal Tannenbaums,” “The Grand Budapest Hotel,” “Moonrise Kingdom” and “The Life Aquatic with Steve Zissou,” Anderson also made a rather fabulous stop-motion animation called “The Fantastic Mr. Fox.”
Let’s blame Oprah. She gets blamed for so much else, so why not?
The beloved icon arrives in “A Wrinkle in Time” bigger than life and twice as unnatural. She’s got gold-beaded eyebrows and is dressed in what might be called The-Jetsons-Meets-Game-of-Thrones chic. And she is big — tall as a house, with an imperious (yet down-to-earth and kind-hearted) manner that suggests, well, Super-Sized Oprah.