Illumination Entertainment’s latest animated film, Sing, is jumping on the singing competition train, following the journey of theater owning koala Buster Moon (Matthew McConaughey) as he tries to revive his theater’s financial woes by staging a city-wide singing competition.
For those who frown upon the illogicalness of random fits of song and dance, La La Land with its mix of the trivial and the real dares to reinvent the musical as a genre.
The film follows Ea, God’s disgruntled 10-year-old daughter, who is of course, Jesus Christ’s (JC for short) younger sister. Groyne instills each dead-eyed stare with both weariness and willfulness, playing the role with a quiet gravity that belies her age. Her voice-over narrations are pitch perfect, too, in their monotonous tone and quintessentially blasé teenage demeanor.
Like any good Disney movie worth its salt, Moana tethers its lighthearted comedy and rousing action to a central, uplifting theme.
Contingent on a successful suspension of disbelief, Arrival delivers a thought provoking and understated drama with an astonishing denouement.
Blood, death, dirt, flames, and shattered bodies arc across the screen in a depraved, slow-motion waltz of wartime gore that is sickeningly captivating.
Among the twelve victims, Paper Lanterns centers around Normand Brissette and Ralph Neal, two American POW victims, including interviews with members of their families, who shared their gratitude to Mori for his compassion and dedication.
Gavin O’Connor’s The Accountant centers around Christian Wolff (Ben Affleck), an autistic, mathematically gifted, gun-slinging, martial arts master who, when not running his own small accounting firm, is uncooking the books for major drug-lords, kingpins, and other nefarious criminal organizations.
Being a teenager is hard. While experiences may vary for each individual, most are at least familiar with the idea of the angst-ridden, hyper-aware emotional upheaval that the stereotypical adolescent experiences.
The Birth of a Nation depicts the story of Nat Turner (Nate Parker), a Bible-educated slave who comes to believe that he is a messenger of God, destined to lead his fellow slaves in a rebellion for freedom.
Looking through a train window and wondering what’s going on in the houses that we pass — it’s something that we’ve all done. The Girl on the Train digs into this curiosity, and follows Rachel (Emily Blunt), a 30-some year-old alcoholic who rides the train everyday to do just that. She stares out the window to watch a seemingly happy couple enjoying themselves on their porch at 15 Beckett Road, narrating that “they’re everything I want to be.”
Picture a small, dusty town evocative of the American Wild West. Now, in lieu of cowboys, gunslingers, and rugged beards, imagine a small pack of women milling around town aimlessly, leaning dramatically against pillars, and stretching theatrically atop ladders, all while dressed in the finest haute couture more appropriate on a Milan or Paris runway rather than in the Australian Outback. It is precisely this sort of visual and contextual dissonance successfully powering the darkly comedic engine of The Dressmaker, an Australian film directed by Jocelyn Moorhouse, that keeps the viewer engrossed and laughing for the majority of its 118-minute runtime.
Storks presents a new twist on the classic notion of “storks delivering babies.” After a human girl named Tulip (voiced by Katie Crown) is orphaned in a stork-related disaster, storks give up their high-pressure gig and now deliver for an online store reminiscent of Amazon.com. Junior (voiced by Andy Samberg), is up for promotion, but in order to get the job, he has to fire Tulip, working at the warehouse due to a lack of a human home, who doesn’t fit in with the storks — after all, “birds of a feather flock together.”
North Korea is a black box that always seems to be lurking in the news with headlines that range from the shocking to the downright bizarre. The Lovers and the Despot, directed by Rob Cannan and Ross Adams, straddles both the shocking and the bizarre as this documentary unpacks the compelling true-crime story of Kim Jong-Il’s kidnapping of famed South Korean actress Choi Eun-Hee and her ex-husband, the accomplished South Korean director/producer Shin Sang-Ok.
On September 18, 1980, Arkansas was almost obliterated when a mechanic dropped a heavy socket down a shaft, puncturing the fuel tank of a Titan II missile carrying a nuclear warhead. If nothing else, Command and Control will inspire engineers striving to build redundant, foolproof safety measures on their dangerous devices.