Andy Bockelman columns
There are thousands of accounts of the American military’s exploits, all of which are worth hearing to get a greater picture of how our nation was strengthened during its hardest times. You want to believe that every depiction of these folks is an accurate and glowing one, but a film like “Fury” shows you can’t always reach high expectations.
The last thing legal counsel wants is to handle the case of someone who shares their surname. The only thing worse is someone who insists on backseat lawyering, something that happens, but isn’t as funny as it sounds, in “The Judge.”
The segment of wedding vows that mentions, “till death do us part” isn’t one most at the altar want to make their focus. However, those five words are very important to those who make up the cast list of “Gone Girl.”
Kids, whenever you think your parents are being unreasonable, consider the fact that they probably never forced you to live in the wilderness and question if your next day would be your last. Compared to the teens of “The Maze Runner,” adolescents who have their cell phone taken away have it pretty easy.
We all have the urge to play the Good Samaritan for people in times of trouble. Even so, you know what they say about “No Good Deed,” and the movie of the same name isn’t going to inspire you to have faith in that lonesome hitchhiker on the side of the road any more than you did before.
The universal love of food is one that goes beyond any language barriers or geographic borders. But the message that we all just want to fill our bellies, be it with curry or hollandaise sauce, isn’t all that the film “The Hundred-Foot Journey” has on its list of specials.
When you go to the movies as often as I do, sometimes the shows you see during the summer are ones you wish you hadn’t or are purely recycled, while there are others you regret missing. If you haven’t gotten your fill of the season’s offerings, here’s a cross-section of films I haven’t had the chance to weigh in on that you may want to catch or avoid at all costs.
Hopefully you’re consulting something other than contemporary cinema when you look at the big questions, such as, “What’s the point of life?” Indeed, “If I Stay” can’t answer queries like this — and doesn’t try — but it maintains its own charms nonetheless.
Rarely are the days to come presented in a positive light when it comes to the movies, and “The Giver” is no exception. Of course, everything looks bleak when you’re seeing it all in black and white.
When you’re talking about a force of nature with unimaginable power that leaves behind only destruction, the first thing that comes to mind is probably the Kardashian family. A close second would be that of Hollywood and its seemingly endless supply of mediocre versions of stories that have been told many times, among them the newest disaster film “Into the Storm.”
In a business where bigger isn’t always better, it’s good to see a movie like “Guardians of the Galaxy” that’s huge in every way but still dares to be small where it counts. And, not just in having a trigger-happy star that’s only two feet tall.
When someone claims to be “expanding their mind” when they indulge in heavy substances, it’s usually just a throwback to the spirit of the Summer of Love and a rationalization of a deeper issue. The heroine of “Lucy,” on the other hand, can claim that what’s going into her body is indeed changing how she sees things, including, but not limited to, the very fabric of the universe.
Three hours, one minute and 42 seconds sounds lengthy enough for a feature film. When you consider this is the span of the piece of the accidental amateur skin flick causing all the problems in the comedy “Sex Tape,” it seems downright infinite. And while the movie itself is only half this duration, it somehow seems even longer.
When “Thus Spake Zarathustra” began booming in the introduction for “2001: A Space Odyssey,” the hairy creatures involved were just starting to evolve at an extraordinary rate. The music of Richard Strauss may not be used in “Dawn of the Planet of the Apes,” but the animals of its story are already well past the point of no return in no development, whether you believe that to be a good thing or a bad thing.
The underlying theme of most films that take place behind the wheel is that the destination is less important than the personal journey people embark on while getting there. If that’s so, what are we to make of a movie such as “Tammy,” where it seems the parking brake is stuck for most of the action?