Director Clint Eastwood’s film adaptation of the Tony Award-winning musical “Jersey Boys” is a delightful and beautifully crafted trip down memory lane. Like the Broadway show, Eastwood’s film recounts the history of Frankie Valli and the Four Seasons, often pausing so key players can address the audience and put their personal spin on events. The story of the Four Seasons is interesting because despite the band’s clean-cut image, the members grew up on the streets of New Jersey and – to varying degrees – had criminal ties. 

There’s nothing funny about real-life identity theft, but that didn’t stop screenwriter Craig Mazin and director Seth Gordon from attempting to milk laughs from the subject. In “Identity Thief,” the pair tell the story of Sandy Patterson (Jason Bateman), a finance executive who gets swindled by a shameless female grifter named Diana (Melissa McCarthy). Diana starts by stealing Sandy’s unisex name. Then, she runs up masses of credit card debt, ruins his reputation and triggers a warrant for his arrest. 

Director Len Wiseman adds nice touches to this new version of “Recall,” including a darker tone, improved special effects and a superior cast. Whether you like Arnold Schwarzenegger or not, Colin Farrell is a better actor, and he is joined by Kate Beckinsale, Jessica Biel and Bill Nighy, all of whom are terrific. Wiseman and his team of screenwriters allow their movie to stray from the original “Recall,” particularly in terms of setting. 

Henry Rollins wears many hats. He has his musician hat (that he no longer wears), which he earned from singing with State Of Alert, Black Flag and the Rollins Band.  He has his acting hat (which still uses) that he’s worn on two dozen film sets and several television shows, including Sons of Anarchy and the forthcoming Dark Prophet. And finally, he wears his activist hat (which he never takes off). Highbrow Magazine writer Sam Chapin recently had the chance to ask Rollins a few questions about the broad spectrum of his interests and endeavors. 

Filmcraft: Directing is composed of 16 interview-profiles of internationally acclaimed filmmakers. Goodridge also devotes five Legacy chapters to “innovators and pioneers in the filmmaking field.” The directors he chooses “to represent the first 115 years of cinema” are the usual suspects: Kurosawa, Bergman, Ford, Hitchcock, and Godard — the filmmakers whose films you wind up watching eventually, dutifully. 

The  much-admired (and emulated) Martin Scorsese, for one, is an outstanding auteur and easily one of the best directors  working today, yet he cannot rightly be ranked alongside the titans of the golden years when cinema was emerging as a serious art form: Akira Kurosawa, Stanley Kubrick, Alfred Hitchcock, Orson Welles, Ingmar Bergman, Jean Renoir, and the list goes on.  These masters were, and remain, larger-than-life legends.