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The themes in “Transcendence” are every bit as complicated and engaging as those in Nolan’s movies. Unfortunately, the execution is less convincing. The focus is on Will and Evelyn Caster (Johnny Depp and Rebecca Hall), a power couple working on the most advanced artificial intelligence system in the world. Despite their ties to technology, Will and Evelyn are down to earth.
It seems in many ways that Paul Bowles led a charmed life. The new sounds of jazz had been forbidden in an inordinately strict household—though his mother’s reading of Edgar Allen Poe became an inspiration for his later stories. A closeted homosexual and a fatalist at heart, he had tossed a coin: heads he would take his own life, tails he would head for the City of Light. His early musical talents caught the ear of composer Aaron Copland, his traveling companion for his first trip to Tangier. But it was in Paris that Gertrude Stein discovered her “Freddie.”
There are appealing elements in both “Rio” films, most notably director Carlos Saldanha’s colorful depiction of South American wildlife and scenery. Since “Rio 2” is a musical, Saldanha also deserves credit for collecting a nice batch of tunes and working them into his feature in organic and pleasing ways. The trouble is, these strong points are saddled to a pedestrian script. The story is set after events in the original Rio, and it is essentially an animalized version of “Meet the Parents.”
Anita begins with the lead-up to the hearing and is careful to present Hill as a strong, beautiful, bright woman, already an accomplished lawyer in her 20s, with deep-rooted values and a desire to do the right thing. Despite her allegations, Thomas' nomination was confirmed and it is that end that unequivocally justifies the rest of the film because no matter the viewer’s perspective on Thomas, or the alleged abuse, the harassment becomes a sub-plot to a tale about a young heroine fighting to change her world.
Jason Bateman makes his feature film directing debut with an eclectic comedy that scores points for originality despite minor problems with consistency and tone. The movie, written by Andrew Dodge, tells the story of Guy Trilby (Bateman), a jaded 40-something who exploits a technicality in the rules of the Golden Quill national spelling bee and ruthlessly competes against grammar school children.
Student loan debt has grown 517 percent in the last five years; colleges are spending money on fancy buildings; and graduates are unable to find jobs. The documentary shows some students who are opting out of a formal education for one that is self-led and highlights alternative learning centers like Deep Springs College and the dramas at Cooper Union, the NYC school that recently went from entirely free to regular tuition. Ivory Tower seems to suggest this might be a better solution for prospective students.
Since “300” ended with the death of all major protagonists, a sequel makes about as much sense as a follow-up to “Titanic.” Nevertheless, Warner Brothers found a way to turn writer-director Zack Snyder’s enjoyable 2006 adventure film into an ongoing political saga punctuated by brutal, stylized killings and slow-motion geysers of bright, red blood. The movie was obviously designed as a cash grab, and the biggest surprise of the 103-minute feature is that it actually entertains.
Although there are many great writers and directors working in cinema today, few have voices as distinct and pleasurable as Wes Anderson’s. With films ranging from “Bottle Rocket” (1996) to “Moonrise Kingdom” (2012), Anderson has introduced moviegoers to unusual worlds, fantastical characters and bizarre settings that entertain while provoking thought. He is a manufacturer of fairytales for our modern age and, as such, his projects should be widely celebrated.