About halfway through “The Babadook” I was feeling a real sense of irritation, what with all the hollering and the screeching and the screaming and the loud bumping noises and the crying and the wailing. It kept going, and I kept watching — and it started to sink in: I wasn’t really irritated so much as creeped out.
“Whiplash” is “An Officer and a Gentleman” set to jazz, although there are moments when a comparison to “Full Metal Jacket” seems more apropos. All three films feature intense, abusive, charismatic mentors who would scoff at the term “tough love” as being far too cuddly and soft to describe their technique. As the terrifying, unapologetic jazz maestro Terence Fletcher (J.K.
It’s an impressive, wide-ranging list of titles. “X-Men: Days of Future Past.” “Chef.” “Wild.” “The Homesman.” “St. Vincent.” “Kill the Messenger.” “Gone Girl.” “Edge of Tomorrow.” “The Fault in Our Stars.” “Under the Skin.” “Selma.” “Unbroken.” These were some of the best movies of 2014 — and yet they couldn’t crack my Top 10. Here we go. 10.
Sitting through the nearly laugh-free, consistently cheesy and thoroughly tiresome final chapter in the “Night at the Musuem” trilogy, I wondered: Did anybody involved in the making of this movie actually believe it was a quality effort? This is not to disparage the efforts of the hundreds of behind-the- scenes professionals, not to mention the talented cast. I just find it hard to believe they truly believed THIS thing was any good.
Director Ridley Scott’s borderline-lunatic, bold, gargantuan and visually stunning epic “Exodus: Gods and Kings” is one of the most unforgettable movies of the year, and I never want to see it again. I can explain. Some movies, while superior works, just don’t have that high “repeatability” factor. Who wants to see “Cries and Whispers” or “Sophie’s Choice” or “Saving Private Ryan” or “Schindler’s List” multiple times? I know that sentiment would have some film scholars reeling, but you know what I mean.
When I heard Clint Eastwood was directing the film version of the wildly successful and hugely entertaining Broadway musical “Jersey Boys,” I wondered: Why? Not that I thought the man whose face looks like it should be on the Mount Rushmore of Hollywood icons couldn’t handle the material. Mr. Eastwood, an accomplished composer himself, has proved to be one of the most versatile directors of the last 30-plus years. He did a sublime job with “Bird,” the 1988 biopic about Charlie Parker.
Somewhere, some way, somebody’s going to review “Edge of Tomorrow” without mentioning “Groundhog Day,” but as you just heard, it ain’t gonna be me.
Whenever someone says they wish they had lived in the time of Michelangelo or Lincoln or F. Scott and Zelda, they’re not thinking about how rough it would have been just to get through the day without all of our modern creature comforts, from smartphones to 457 channels to soft toilet paper to air conditioning to good shoes. So it goes with movies about the Old West.
Over the years, Godzilla’s gotten a bad rap. This is due in large part to the Americanization of the classic Japanese original from 1954, with the producer Joseph E.
Fraternities don’t get much love in the movies, unless we’re talking about the stories of underdog, rogue frats: “National Lampoon’s Animal House,” “Revenge of the Nerds,” “Old School.” The rest of the time, fraternities are the headquarters for misogynistic yahoos who think they invented drinking, or secret organizations involving mysterious rituals where the occasional MURDER occurs and is then covered up because Daddy’s a United States senator and he’ll fix it. (Sororities in the movies? That’s where girls get naked and/or murdered.