A new collection of essays, ‘Tough Ain’t Enough: New Perspectives on the Films of Clint Eastwood,’ discounts one of America’s greatest actors and filmmakers as little more than a Republican celebrity.
Using a guilt-by-association-vocabulary is nothing new. Sen. Joseph McCarthy used the same strategy.
Of all of Marvel’s early ’60s characters, Ant-Man, alongside Iron Man, was the most politicized. Both were sturdy anti-Communists.
In three weeks an artsy commemorative book debuts marking the film’s fiftieth anniversary: ‘This Is No Dream: Making Rosemary’s Baby,’ by James Munn and Bob Willoughby.
Not since Roger Moore’s turn as James Bond has an actor sleepwalked through a film like Rudd has here.
Along with Roman Polanski, film director Milos Forman resisted the trend of using the ‘fascist’ label loosely. For him this topic was literally dead-serious, as he witnessed it up close.
As the plot unfolds, the viewer is not given a stable berth from which to follow the story, and audiences can become as disoriented as Claire Foy’s character.
The film about the feeding frenzy among his inner circle after his death inadvertently shows how Stalinism is literally dead serious.
David Woolner’s book, ‘The Last 100 Days: FDR at War and Peace,’ makes some highly disputable claims about FDR’s handing of the Yalta Conference in 1945 in order to make the dying president’s statecraft look more competent.
Nothing could match Winston Churchill’s behavior as British prime minister during World War II. His defiance was legendary. ‘The Darkest Hour’ catches it.
‘12 Strong’ is a welcome change from the ‘We’re all to blame’ war movies that leftists in Hollywood crank out.
A new collection of interviews from the late, great Christopher Hitchens demonstrates that one of the most beloved liberal intellectuals of our time held a surprising number of conservative beliefs.
Scott Cooper’s ‘Hostiles’ accepts history’s brutal realities rather than substituting political cant. Cooper is what historians used to be: one who doesn’t fashion history to fit a political agenda.
‘Get Out’ has been chatted up for best picture, best actor, best director, and best film editing for Oscar nominations. The nomination lists come out January 23.
With ‘A Lit Fuse: The Provocative Life of Harlan Ellison,’ author Nat Segaloff tries to write a biography of an author whose enormous talent is often outshone by his anger and progressive politics.
‘Blade Runner 2049’ needs no corrective editing like its cult-favorite predecessor, for it is a much better film on every level.
In the hands of a more class-warrior director, the film would highlight the bullies’ privilege. Stephen Chbosky’s priorities, however, are universal in scope.
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