The “Veronica Mars” movie exists only because fans of the TV show willed it into existence. Writer-director Rob Thomas and star Kristen Bell sought funding for the long-talked-about picture on the Kickstarter website, and money rolled in at an astounding pace. The fact that major studios previously balked at the idea of backing the film makes one wonder about the state of the film industry. 

Written, directed by and starring John Turturro, Fading Gigolo is a subtle, charming comedy making an observation about the entanglements of sex and love. It could be due to the age of the cast in the film, but there is a tender treatment of the relationships portrayed, bringing out raw honesty. The premise is rather simple:  Murray (Woody Allen), a rare bookseller, literally “pimps out” his close friend Fioravante ( Turturro), a florist, for a threesome since his business is going under. After a successful venture, the two friends partner up.

Filmmaking brothers Joel and Ethan Coen are treasures of modern cinema who somehow craft one great movie after another, regardless of the genre they explore. In 2010, they reinvigorated the Western with a beautiful adaptation of the 1968 Charles Portis novel “True Grit.” Their latest film, “Inside Llewyn Davis,” treads different territory but is just as compelling. Set in 1961, the film introduces viewers to Llewyn Davis (Oscar Isaac), a fictional folk singer struggling to make it in New York’s Greenwich Village. 

With the revolution in new technologies that was part of the larger revolution in industry more than just strong character and virtue was needed to be famous. In the age of television commercials, public relations and televised debates (as the Kennedy-Nixon debate amply demonstrated) it is questionable whether a man like George Washington could be elected president if he were to run for office today, when image has in so many ways supplanted substance. 

Though "putrid" isn't quite the word to describe this Charlie Stratton adaptation of Zola's classic (though it does boast one or two bloated corpses), there is sense of overripeness to the film, a tinge of déjà vu in that we've seen this story played out countless times before and already know how it is going to end. Elizabeth Olsen (of Martha Marcy May Marlene fame) plays the parentless Thérèse, whose overbearing aunt, Madame Raquin (Jessica Lange), forces her into an engagement with her only child, the sickly and decidedly humdrum Camille (portrayed by Tom Felton). 

Now that the awards season is almost over, with only the Academy Awards remaining, our attention turns toward the most eagerly awaited films of 2014. This past year focused on real-life stories, with stellar accomplishments like 12 Years a Slave, American Hustle, Wolf of Wall Street, The Butler, and Mandela. However, 2014 is looking to both expand on and provide some counterpoint to this trend, with a new crop of fantasy, sci-fi, futuristic, and supernatural films, as well as historical fiction.

Media platforms like Netflix, Hulu, and even Amazon have all released successful series this past season. They have lured big-time writers and directors like Weed's Jenji Kohan and “Fight Club’s” David Fincher. TV is now drawing big-time players like Matthew McCaughey (True Detective), Martin Scorsese (Boardwalk Empire), and John Goodman (Alpha House) to the small screen,  which was unthinkable 10 years ago.Yet this “Golden Age” in TV also means fierce competition. With the rise in popularity of digital platforms like Netflix, Amazon, and Hulu, the television landscape has been severely altered. 

Cats and Asian Americans reign supreme on Youtube, but in Hollywood it’s another story: discrimination, stereotypes and exclusion are the norm for Asians, both on television and the silver screen. The most recent evidence of this came during the Golden Globe awards ceremony, where viewers were hard-pressed to find an Asian face in the audience, let alone an Asian name among the nominees. The TV camera showed flashes of the marvelous Lucy Liu and comedian Ansari Aziz, as if trying to make sure that these two “cats” would somehow make up for the lack of Asian diversity. 

 The Graduate established that the old generation of Hollywood been had usurped by a new generation, Apocalypse Now served as a harsh reminder that the freedoms and economic prosperity of the ‘60s had started to fade away. Soon, Reagan would dismiss public pessimism brought about by the war in Vietnam as the “Vietnam Syndrome.” Coppola’s film was one of the last great reminders (in mainstream movies) that all good things must come to an end. During the past three-plus decades since the release of the latter film, U.S. cinema has not seen such a prolific time period, as the existence of original directors post-1980 has been more of an exception than a rule. 

It would appear that as usual, what's old is new again.   Yet even by modern Hollywood standards, the mere act of humanizing Black domestic characters who were denied lines and had long stood silently in the shadows of white stars in countless iconic films including Father of The Bride, is revolutionary.   While they may appear to simply be masculine and feminine versions of each other:  Both focus on changing attitudes regarding race in American society, and both focus on generational and cultural divides between parents and their offspring.