In the same vein as Tim Burtons “Alice in Wonderland,” […]

“The Avengers” is the smorgasbord comic book movie we’ve been […]

“The Dictator” is Sacha Baron Cohen’s first attempt at anchoring […]

Even Honest Abe would tell you; there are a lot […]

If you were a Scottish princess, wouldn’t using a spell to turn your mother the queen into a bear be considered an act of insurrection? It’s hard to imagine that in real life Merida—the red-headstrong princess in Disney Pixar’s Brave—would avoid the tower for very long. In fact, consorting with a witch would be pretty risky, burning at the stake and all. Not to mention Scottish royalty has a particularly discouraging tradition of lea-

Hollywood is the only place in the world where you can die from encouragement. Wise words to the unwise. And yet, throwing caution to the wind thousands of would-be kid actors migrate to California to vie for a part in the fifty or so new television shows (known as pilots) which are produced each year (pilot season lasts from January to April). "Throwing caution to the wind" may sound overly prudent, but consider this: striving to become

Most people probably know Buddy Holly but not a single member of his backup band, the Crickets. Backup bands and other support acts make the stars possible, and seldom—if ever—get the recognition they deserve. Teen a Go Go goes behind the scenes to bring some of these unsung heroes into the light. Delving deep into the Sixties’ music scene of Ft. Worth, the documentary includes a plethora of Texas musicians—almost none of them known

Tate Taylor’s adaptation of Kathryn Stockett's The Help filled me with a wonder similar to that I felt watching—and relishing—Mad Men. There, the three-martini lunch, the 1960 men and women boozing and smoking themselves to death had me aghast. Same here. This was Jackson, Mississipi, fifty years ago? It’s beyond racism, unless racism means considering people so far below you that no one would blink at an African-American maid not being

Split between two settings, two time periods, and two casts, it’s no wonder that John Madden’s The Debt divides so easily into two levels of quality. There’s one part that I like to call a classy, sexy Cold War spy thriller. There’s another part that I like to call “the ending.” Three Mossad agents share an apartment in East Berlin in 1966; two men and a young woman. The cramped quarters in a hostile land breeds danger and romantic tension.

The year is 1993. Nine Cistercian monks live in the monastery of Tibhirine in the Atlas mountains of Algeria. The monks live in good intelligence with the Muslim villagers, farming, making honey, treating patients in their clinic, teaching children. Unfortunately, the precursor—and to us now familiar—signs of fundamental Islam are entering this peaceful community. Murders of foreign construction workers, kidnappings, enforcement of hijab and exactions set the scene. The monks, though clearly in danger, refuse to leave for a less threatening environment despite entreaties from local authorities. Xavier Beauvois’s film tells this true story that takes place over three years in “Of Men and Gods,” which received the Grand Prize of the Jury at the last Cannes Film Festival.