Steven Spielberg

The SF Symphony’s performance on Jan. 7 astonished as a special extension of “Jurassic Park,” a live version of a behind the scenes experience.

Elgort and Zegler have little chemistry, and their characters’ romance feels incredibly rushed and artificial. Tony comes off as creepy, and Maria seems obsessive, creating a love story that audiences cannot eagerly root for.

While the book is explicit both about the sexual encounters between Celie and Shug and the fact that they are in love with each other, Steven Spielberg’s 1985 cinematic adaptation reduces their relationship to one kiss.

Everyone’s passion begins somewhere and evolves as they get older. My love affair with movies is a trilogy, and it started with Universal Studios.

At this point, it’s become apparent that Shyamalan feels obligated to stick some kind of sneaky twist into every movie he directs, whether or not such a twist is warranted. “Glass” boasts more than a couple of twists, turns and revelations, but they aren’t earned and only inspire indifference.

The film is all the better for its (relative) sense of restraint, allowing Charlie’s relationship with Bumblebee to be foregrounded instead of relying on relentless action. For once, the human characters in a “Transformers” film are more than audience placeholders.

A Sam Raimi stan and recent graduate who missed UC Berkeley’s film and media commencement ceremony to screen his short film, “Life in Color,” at the Cannes Film Festival.

Earth Day might have been on Sunday, but The Daily Californian’s Arts & Entertainment staff presents you with enough local events to make up an Earth Week.

Visuals have gotten a lot of the credit for what is making films more immersive. Less obvious is the way scores have changed the way we engage with films.

Spielberg elicits an infectious sense of wonder that’s only topped by “Jurassic Park,” a genuine pathos missing from his late-career period pieces.