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Let's all stop being coy and fess up, shall we? The truth is, even those of us who work with cookbooks, write about cookbooks, collect cookbooks — heck, even write cookbooks ourselves — don't actually cook from cookbooks. At least not nearly as frequently as we'd like to/promise ourselves we will/tell others we do.
Comic book movies are increasingly, like Sandra Bullock in "Gravity," lost in space.
An anti-bullying allegory writ on the largest possible scale, "Ender's Game" frames an interstellar battle between mankind and pushy ant-like aliens, called Formics, in which Earth's fate hinges on a tiny group of military cadets, most of whom haven't even hit puberty yet. At face value, the film presents an electrifying star-wars scenario — that rare case where an epic space battle transpires entirely within the span of two hours — while at the same time managing to deliver a higher pedagogical message about tolerance, empathy and coping under pressure. Against considerable odds, this risky-sounding Orson Scott Card adaptation actually works, as director Gavin Hood pulls off the sort of teen-targeted franchise starter Summit was hoping for.
We all know that the Star Trek mission is “to explore strange new worlds” and “seek out new life and new civilizations,” so it’s only logical that the Starship Enterprise would eventually end up at the Arizona State Fair. Nestled amongst the “Bacon A-Fair” food stands and “Tilt-A-Whirl” thrill rides, “Star Trek: The Exhibition” has landed.
In an age when we're able to consume content so many different ways — and that's a good thing, mostly — let's declare right now that there's only one truly correct way to experience "Gravity," Alfonso Cuaron's thrilling new space film.
"Somewhere along the way I lost a step," says Vin Diesel, aka that gravelly voiced, visually impaired, planet-hopping outlaw and badass they call Riddick. "I went and got sloppy."
Sci-fi movies, we all know, create unlikely heroes, and this summer's no exception.
Of all the movie villains we've met lately, few are stranger than Delacourt, Jodie Foster's evil, white-blonde, power-suited and power-hungry defense official in "Elysium," the much-awaited but ultimately somewhat disappointing new film from director Neill Blomkamp.
On and off screen, it's been a bruising summer for Hollywood.
It can’t hurt to kick off the school year with some positive reinforcement about reading, and that should be available in spades at Girls Night Out, a free event for teen readers featuring No. 1 New York Times bestselling author Aprilynne Pike and fellow writers Suzanne Young and C.J. Hill.
Don't get us wrong. We don't mean to take anything away from the more substantial qualities of "The Wolverine," a fairly satisfying if not stellar installment in the saga of the famous mutant that Hugh Jackman's been playing since, wow, 2000. (For a little perspective, Bill Clinton was still president.)
A guide to movies from a family perspective:
It's one of the saving graces of "Pacific Rim," Guillermo del Toro's new mega-budget monsters vs. robots extravaganza, that at a key juncture, it knows how to make fun of itself.
A few observations from a columnist who, despite summer having officially begun just this past week, might have been out in the sun too long:
Brad Pitt wanted to build a better blockbuster.
It has been a black eye to Hollywood that throughout this, the unending and increasingly repetitive age of the superhero blockbuster, the comics' most iconic son has eluded its grasp like a bird or, if you will, a plane.
Humanity's home planet hardly merits the name-check in "After Earth," M. Night Shyamalan's sci-fi survival tale whose shipwreck action could (with the exception of a scene where our hero scrawls a crude map over Lascaux-like cave paintings) take place on any old life-supporting globe in the cosmos. The disappointingly generic film, which strands a father and son (Will and Jaden Smith) on Earth a thousand years after a planet-wide evacuation, will leave genre audiences pining for the more Terra-centric conceits of "Oblivion," not to mention countless other future-set films that find novelty in making familiar surroundings threatening. Will Smith's presence, not just as co-star but as originator of the story, seems likely to carry box office receipts beyond the benchmark of Shyamalan's previous picture, the wretched "The Last Airbender," but those hoping for a franchise should navigate elsewhere.
Love was in the air at Phoenix Comicon 2013 during its Thursday (or Thor’s Day might be more appropriate) opening night festivities; and I don’t mean just the crowds of pop culture enthusiasts’ adoration of all things comic, sci-fi and fantasy related....
"Star Trek Into Darkness" is like fan-boy fiction on a $185 million budget. It's reverential, it's faithful, it's steeped in "Trek" mythology.
In the galaxy of big-screen superheros — a rather glum lot — Robert Downey Jr.'s Iron Man is the snappy one.
There's a siege mentality about Michael Bay's movies, as though viewers are the enemy holed up in a bunker and he's the guy ordering heavy-metal music around-the-clock to wear down our morale and force us to surrender.
Early in the sleek sci-fi thriller "Oblivion," Tom Cruise, as a flyboy repairman living a removed, Jetsons-like existence above an invaded and deserted Earth, intones his home sickness.
It's not really news that Arnold Schwarzenegger is back this year. Everybody else in Hollywood is, too, so why not the former California governor?