I began looking into the ice-bucket challenge because I was thinking of launching a challenge of my own. It turns out that it originated as the Cold Water Challenge. It was to donate to cancer research or jump into cold water. But my challenge is a bit different.
Tina Fey and Amy Poehler bring their special brand of hostess-ness to the 72nd Golden Globes this Sunday. There are more amazing honorees than you can shake a statue at, but Culturalist users have been doing their part to identify the best-of-the-best.
There is a lot to like in Into the Woods but there is also a lot more that should have been better. If the playfulness and emotions inherent in Sondheim's songs had been delivered, the movie would not have been just good -- it would have been great.
As much as I love Meryl, I'm never going to buy her records, and I haven't been this uncomfortable watching her in a film since, what do you know, Mama Mia! If we're living in any sort of movie musical cinema revival, it's time to start asking ourselves what we sacrificed to get there.
If I were going to make a 10-best list, it would probably include films like Boyhood, The Imitation Game and Selma, among others that will be on everyone's list. But, as good as those films are, none of them are on my list of favorites.
I've been in love with Into the Woods for years. I've seen it performed several times, watched the DVD of the original Broadway production many times, and lost count of how often I've listened to the original cast album.
Stephen Sondheim's Into the Woods arrives on the big screen 27 years after it opened on Broadway -- and with the same second-act problems that have plagued it through the years.
As I write this, an elegant little crow has landed on the table of my luxury hotel room's balcony overlooking Burj Al Arab. Yes, it's like that here, a mix of celebrity, cinema, sweeping man-made landscapes and the best that nature has to offer.
Missing from Monday's lunch at The Leopard, Meryl Streep, wicked as an ugly witch in Rob Marshall's movie adaptation of Stephen Sondheim's musical Int...
Not gimmicky or derivative, it's actually about something we've lost touch with in American culture; perseverance in the face of despair.
Here's the good news: Edge of Tomorrow is not Oblivion redux. But here's the conundrum: As a result, the pendulum may have swung too far in the opposite direction.
Day after day. Over and over again. He can see his demise. But no on else can see theirs. Until....
Over the years, I've developed what I refer to as the 20-minute rule. It basically says that a movie that hasn't hooked me in the first 20 minutes probably isn't going to.
Hollywood's endless revisiting of cherished figures from our past has always been a successful entertainment ploy. And none more so than the current obsession of making every character in a movie a dangerous, sexy twenty-something.
Bringing style to spare the end is an emotional one, surprising and kicks you in the gut all at the same time. I found Looper a great ride that delivers on its promise of being something new.
In the balcony, spirits soared. Indie filmmakers labor long and hard to secure financing for their projects so when it comes time to play, pop those corks!