Love Is Strange

The strangeness of love in all its forms

The Boxtrolls

The tactile world of The Boxtrolls explodes with imagination

James Dashner

Interview with The Maze Runner author

This Is Where I Leave You

One scene-stealing performance gives This Is Where I Leave You a real jolt
A modest proposal, before diving into the rest of the muddled, sporadically appealing This Is Where I Leave You: Adam Driver should read all the lines, in all the movies. Just all of them.

The Trip to Italy

The Trip to Italy soars on the comedic interplay between its stars
Early in The Trip To Italy, stars Rob Brydon and Steve Coogan discuss sequels. "It feels odd doing something for a second time," Coogan says,

Fall Films 2014

City Weekly film writers look at their most anticipated movies for the rest of 2014
Every cinematic fall brings talk of "awards season," and the titles almost certain to draw either critical praise or Oscar voters' love, if not both.

Ghostbusters 30th Anniversary

The re-release of Ghostbusters takes a critic back to a formative movie summer
You're forgiven in advance if you roll your eyes at the blatant pandering to nostalgia that is to follow. It is the very nature of nostalgia to feel rich and relevant to those who are cohorts—generationally or otherwise—while it looks merely self-indulgent and irrelevant to those who are not.

If I Stay

If I Stay nails so much about its source material—except key details of tone
For a movie-lover, the journey down the road of reading source material is a perilous one. It's axiomatic that a movie is not a book or a stage play, and that two artistic forms often demand different approaches to the same basic concept.

The Dog, Dog Day Afternoon

The documentary vs. the drama
Truth may be stranger than fiction, but that doesn't mean that truth is better than fiction.

Magic in the Moonlight

Woody Allen recycles old philosophical material in Magic in the Moonlight
Woody Allen. There: Now I've said all I need to say to let you decide whether you want to continue paying attention.

Into the Storm

Into the Storm's CGI tornados don't have enough star power
There's something almost quaint about the idea that, once upon a time, the stars of disaster movies were ... well, stars. In the 1970s, when disaster was big box-office business, filmmakers gave their massive-scale life-threatening scenarios a patina of respectability by casting big-name above-the-line talent in the lead roles

A Summer's Tale

Eric Rohmer's world is an enchanting one
An Eric Rohmer film is a particular thing; it's more of a window into an observable world than something staged and played out for an audience's entertainment.


© 2014 Salt Lake City Weekly

Website powered by Foundation