If you're keeping score at home, of the three Marvel comic-book movies so far this summer (a term I use advisedly for a season that technically doesn't start for another month), X-Men: Days of Future Past outranks Amazing Spider-Man 2 and is about on a par with Captain America: The Winter Soldier.
As it turns out, the actor who plays Tyrion Lannister on Game of Thrones, Peter Dinklage, has a tender spot in his heart for animals and he wants you to consider making a New Year resolution to do your part to end cosmetics testing on animals.
There's a special place in my heart for the Masters of the Universe saga. As my childhood attention would drift from the Star Wars line of action fi...
No more time for courtly chatter and brave words; what do these people actually do when the enemy is at the gates? They were true to their natures.
I have been raving about Peter Dinklage since the very first episode of HBO's "Game of Thrones." By the second episode, I was confidently predicting he'd win the Emmy.
Dragons will always be my first answer as to why I think "Game of Thrones" is the best show on TV right now. But dragons aside, the American dream is much closer to the fantasy George R.R. Martin has created than the fashionable nostalgia of "Mad Men."
Can this show convey the books' themes about the perils of loyalty and love in a changing world and take us deep inside the characters' emotional dilemmas without quite literally losing the plot? There may not be a taller order in all of TV at the moment.
By now, you may know that Rosie O'Donnell just alienated all of the the little people in America. It's moments like this that continue to impress upon me the stupidity of television.
Peter Dinklage became Tyrion for me, like no other book character. I love Martin's saga -- with the multiple characters with bodied challenges. Tyrion's romp with life is the best of the bunch, and Dinklage plays it magically.
It's oddly intriguing that a lackluster show and a diluted dose of Ricky Gervais appeals to me greater than his shockmeister two prior appearances.
Neil Labute's remake of Death at a Funeral is virtually a photocopy, in terms of the story it tells and the comedy beats it hits. Yet everything in this version is coarser and more obvious, aimed at a lowest-common-denominator audience.
If movies succeeded on their ambitions alone, St. John of Las Vegas would be hilarious. But St. John misses the mark almost every time.