The end — of the world, of course — will consist of the following elements: fighter jets, exploding cars, flamethrowers, automatic weaponry. Beheadings by lightsaber. Necks broken by starlets. And the solemn intoning of the Bruce Leeism, “You offend me, you offend my family.” T.S. Eliot was wrong. The world won’t end in a whimper, apparently, but with a series of very loud bangs. At least it will in the revelation as revealed in “The Bananapocalypse,” the trailer for the new Asian American YouTube channel YOMYOMF (pronounced yawm-yawm-eff), an acronym of the Bruce Lee bon mot that gives the channel its name. 

The end — of the world, of course — will consist of the following elements: fighter jets, exploding cars, flamethrowers, automatic weaponry. Beheadings by lightsaber. Necks broken by starlets. And the solemn intoning of the Bruce Leeism, “You offend me, you offend my family.” T.S. Eliot was wrong. The world won’t end in a whimper, apparently, but with a series of very loud bangs. At least it will in the revelation as revealed in “The Bananapocalypse,” the trailer for the new Asian American YouTube channel YOMYOMF (pronounced yawm-yawm-eff), an acronym of the Bruce Lee bon mot that gives the channel its name. Millions have already witnessed the Bananapocalypse, so to speak (2,162,711 and counting, as of this writing). 

Faulkner wasn’t the only literary icon who went to Hollywood to make a bundle writing for the movies. In 1933, Nathanael West moved to California on a contract for Columbia pictures, as did Dorothy Parker the following year. In an interview with The Paris Review in 1956, Parker said she wasn’t capable of talking about her Hollywood experience: “It’s a horror to look back on. When I got away from it, I couldn’t even refer to the place by name….”

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. 

History Channel’s terrific miniseries about the well-publicized feud between the Hatfield family of West Virginia and the McCoy family of Kentucky was recently nominated for 16 Emmy Awards. The well-deserved accolades include acting nods for stars Kevin Costner, Bill Paxton, Tom Berenger and Mare Winningham; a best directing nomination for Kevin Reynolds; and a nomination for outstanding miniseries or TV movie. 

Movies reflect, predict and process the violence and ethos of a generation. And in the case of the recent shooting in the movie theater in Colorado, The Dark Knight Rises became the setting for a real-life tragedy. It's worth considering that if the shooter had actually seen the film, things might have turned out differently. Maybe.

Batman has been stuck in the same cycle for 70 years. As soon as the “Dark Knight’s” mythology becomes too dark, he is reinterpreted through the faddish lens of pop cultural parody. Consequently, Batman’s legend lacks substance. So he’s reinterpreted once again with darker shadings. But “The Dark Knight Rises,” the final chapter in Christopher Nolan’s epic addition to the Batman myth, looks past both interpretations. As Nolan promised us from the beginning, his trilogy offers a realistic superhero. But can there really be such a thing? Should there be?

The Israeli drama “Footnote” earned a nomination for best foreign language film at the 2011 Academy Awards, but this is one case where the acclaim is more noteworthy than the movie itself. Although the film carries a fascinating premise, the pace is often painfully slow and the ending is a considerable letdown.

Think of drastically different genres. Fuse some with others and add new elements. Borrow patterns, themes and impressions from the halls of movie history and blend them with postmodern philosophy, a wickedly self-deprecating sense of humor and a heavy dose of playful ironic detachment. The resulting mixture pays homage to directors such as Stanley Kubrick, Roman Polanski, Sam Raimi and Preston Sturges, and writers like  William Faulkner, Flannery O’Connor, James M. Cain and Raymond Chandler. I’m referring to none other than the work of Joel and Ethan Coen, the modern American maestros of cinematic cross-breeding. 

As a writing-directing team, Peter and Bobby Farrelly have been consistently inconsistent. Their filmography ranges from the sublime comedy “There’s Something About Mary” to the less enticing “Hall Pass.” Still, their films are always worth consideration because when they’re good, they’re very good.  Sadly, the Farrellys’ Three Stooges homage is a failure, although it’s hard to hold them entirely at fault.