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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.
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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.
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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.
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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.
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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.
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Spielberg elicits an infectious sense of wonder that’s only topped by “Jurassic Park,” a genuine pathos missing from his late-career period pieces.
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“Best Picture” is a massive concept that is not properly captured by the rules and logistics in place because it transcends them.
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With “The Post,” regardless of any issues with its storytelling, Spielberg’s purposefulness reminds me why I swoon for the long take in the first place.
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“The Post” struggles to find a balance between the story it is really telling and its commitment to larger ideologies, such as history.
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In this quagmire of “fake news,” “The Post” establishes itself as an area of stable land that can function as a haven — an escape.
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