We have a tendency in America to believe that our pop culture is the only culture to embrace our anti-heroes, those rugged criminals whose lives we romanticize into fantasy for reasons we can’t quite rationalize with what these men did. But rhapsodizing about the criminal as pseudo-hero is a truly worldwide phenomenon. The latest example of the worldwide nature of the celebration of anti-heroes comes from Australia with the story of criminal icon Ben Hall, the subject of the Bushranger epic The Legend of Ben Hall which is now available on DVD and On-Demand services in America.
Opening Night has the kind of scrappy charm that you want out of a musical. It’s shaggy and flawed but it’s also fun-loving and freewheeling. The story of a Broadway stage manager struggling with personal demons from his own seemingly failed Broadway career, the movie may not have the polish of a Hollywood production but it makes up for it with moxie and the can-do spirit of an underdog production with nothing to lose.
Okay, you might be wondering what kind of BS I am trying to pull here by not writing my own review of The Living Daylights. After all, I reviewed The Lost Boys, Adventures in Babysitting and La Bamba, so why not celebrate 30 years of Timothy Dalton's version of 007? The answer is simple and oddly controversial; I am not, nor have I ever been, a fan of the James Bond movies.
The Lost Boys turns 30 years old this weekend, July 28th, 2017, and the movie has not aged well. While it’s not quite the embarrassment that was the Twilight movies, The Lost Boys is bad in its own unique ways. While nostalgia might cloud fans of the Coreys’ first team up (Haim and Feldman for those aren’t fans of Tiger Beat circa 1987) the reality of The Lost Boys is that director Joel Schumacher is an epically bad filmmaker and teamed with a cast of not ready for primetime teenagers, and a minimal budget, Schumacher’s modest talents are entirely overwhelmed.
What is there to be said about The Emoji Movie? That’s what I have been asking myself for the more than an hour since I sat down to write this review. This empty, mostly competent, 90+ minute ad for smartphone apps doesn’t inspire much to be written about it. Sure, I could rail against the empty, soulless, mercenary nature of what amounts to app product placement the movie, but I have been shouting into that void since the trailer for the film hit and no one seemed to care then. So, let’s just start writing and see what happens.
I love the way Luc Besson views the universe. Besson sees the universe in bright bold colors. It’s the way I would like to view the universe. While my mind is often clouded by the often sad and tragic state of humanity, and especially man’s inhumanity to man, Besson manages to look beyond and see the beauty beyond our planet and into the stars.