Who would have thought that the only thing that could bring down the great defenders of truth, justice and the American way would be that fiendish arch-nemesis known as the Trial Lawyer? Well, come to think about it, that’s really not news, is it?
I kid. I kid. Please don’t sue me.
The Incredibles, Brad Bird’s first feature for Pixar and Disney, was the sixth consecutive creative bulls-eye by that group since the release of Toy Story. Frankly, the team at Pixar is starting to make excellence seem almost boring. Who do these guys think they are, the New England Patriots?
Woody Allen films can be an acquired taste, and I’ll be the first to admit I haven’t truly acquired it. I’ve admired some of his films individually, like Hannah and Her Sisters, but not enough that news of a new Allen film automatically draws me out to the theater.
Whatever your opinion of Woody Allen films, Melinda and Melinda is unlikely to change your mind. It’s a film so specifically targeted at Woody Allen’s core audience that it’s actually a little off-putting to those who don’t fit into that demographic.
There are very few movies that, after 18 years, I react to the same way I did when I first saw it. The Princess Bride is definitely one of those movies. I get exactly the same feeling of giddy delight from watching this that I did back in 1987. As a fantasy, it takes its fairy-tale elements just serious enough that it doesn’t feel condescending while still managing a knowing wink at a normally cynical modern audience.
Rob Reiner‘s fourth movie is as different from the three that came before it as they are from each other and nothing much like the many he has directed since. He obviously brings a great deal of love and respect to William Goldman‘s original novel and successfully communicated his enthusiasm to a talented cast.