With “Chronicle,” the shaky-cam “real footage” movie, on the cusp of propelling some viewers into face-clawing lamentation, finally grows up.

The picture has a rousing spirit and an unexpected emotional warmth. It features good (if little-known) actors, a solid genre plot, and surprisingly slick effects that are especially impressive for being so seamlessly woven into the film’s low-budget look. The movie hustles by in less than 90 minutes, and it’s a lot of fun.

The story, by director Josh Trank and screenwriter Max Landis—both feature-film first-timers—is a clever riff on the superhero theme. Andrew Detmer (Dane DeHaan, a True Blood alumnus) is the kid with the video cam—a lonely nerd documenting his miserable homelife with an abusive father (Michael Kelly) and bedridden, dying mother (Bo Petersen). Andrew is a high-school senior, shunned by the cool kids and tormented by the usual crew of varsity troglodytes—all the more so after he starts bringing his new camera to school. His only semi-friends are his amiable cousin Matt (Alex Russell) and, for reasons unclear, the gleamingly popular Steve Montgomery (Michael B. Jordan, of Friday Night Lights).

One day, out in the woods, these three happen across a large hole that leads deep underground. Descending into it, they find something very strange, and soon after clambering back up to the surface discover that they’ve suddenly developed nifty new telekinetic powers. At first they use this gift for fun and pranks—floating little Lego bricks up into the air, baffling car owners by shuffling their vehicles around in parking lots. Then, with continued practice, they discover that they can rise up into the air themselves, and soon they’re swooping around through the clouds.

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“Saturday Night Live” was at it again last night, turning its satirical sites on the GOP rather than the fellow currently abiding in the Oval Office.

Here, the NBC sketch show mocks former House Speaker and current presidential candidate Newt Gingrich for his lofty plans to colonize the moon.

If you love B-movies with plenty of camp, comedy and gore, then you’ve probably seen a few films created by the writer/producer/director Roger Corman, the man behind SyFy channel pictures like “Dinocroc vs. Supergator” and older classics like the original “Little Shop of Horrors.”

Up-and-coming director Alex Stapleton turned the camera onto the camp master in her film “Corman’s World: Exploits of a Hollywood Rebel.”

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It follows Corman’s career – over half a century of cheap-as-dirt indie filmmaking – and the resulting 400-plus films that he created in that time. The film launched earlier this month, and Stapleton called BH recently for an interview about her film, Corman’s influence, and getting Jack Nicholson to cry on camera.

BH: Where does Roger Corman fit into the history of cinema?

Stapleton: I definitely think he’s part of the backbone of cinema. I think, creatively speaking as a filmmaker and director, he kind of helped – along with his compatriots – to birth the kind of blockbuster genre film experiences that we experience today that the studios are making.

I think Roger was definitely one of the pioneers in that movement. When you look at the movie “Avatar,” you look at the director and it’s James Cameron, and James Cameron [worked] under Roger Corman for years and… I think that James Cameron would probably tell you the same thing: that he learned a lot about how to put together a genre story by working for Roger.

I also think that as far as moments in cinema history, Roger has had a huge influence, specifically with the American new Hollywood movement, by finding and mentoring people like Peter Fonda, Jack Nicholson, [and] Peter Bogdanovich, starting their careers but also giving them the idea – Peter Fonda, Denis Hopper and Jack Nicholson – giving them the idea to make the movie “Easy Rider,” which is a hybrid movie of Roger’s movies “The Trip” and “Wild Angels.” (more…)

The 2011 thriller “In Time” tells the dystopian science fiction story of a world where time means everything.

Social classes are not determined by income, but by the amount of time a person can live. The humans are genetically engineered to stop aging when they turn 25. At that point, their clocks begin ticking and they must earn or steal more time to stay alive. Lower classes work menial jobs for pay in days, while the upper class hoards centuries. Gangsters prey on the weak to steal their time. “Timekeepers’” or law enforcement’s primary concern is to make sure the “wrong people” – the lower class – never have too much time.

Will Salas (Justin Timberlake) is from “the ghetto,” where people live hour to hour. He meets Henry Hamilton (Matt Bomer) in a bar flashing around a wealth of time – 100 years. After Will rescues him from gangsters, Hamilton gives Will his entire store of time. Sadly, Will can’t get home in time to prevent his mother (Olivia Wilde) from “clocking out.” In retaliation, Will travels to the top “time zone” on a mission to take as much time from the wealthy as he can.

However, possessing time that you didn’t earn is illegal. Timekeeper Leon (Cillian Murphy) catches up with Will and takes back what time he’s managed to accumulate. To avoid capture, Will takes wealthy Sylvia Weis (Amanda Seyfried) hostage and goes back to the ghetto. He realizes it’s not enough to take time from the wealthy, he needs to redistribute the time to the poor. Sylvia falls in love with Will and joins him on a crime spree to spread the wealth of time around as much as they can before they are caught…or their own clocks run out.

We’re lead to believe that a small portion – the one percent? – of the population not only controls the vast majority of wealth, but is actively engaged in preventing the 99 percent from ever progressing outside of their “time zone” by strategically raising taxes and interest rates whenever people start accumulating too much time.

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I loved going to the movies.  I always have, but I’m not so sure I do anymore.

We all know Hollywood is spinning around the bowl, waiting for the final flush. Attendance at theaters is not just flat-lining, it’s in free fall. There are a lot of reasons, some of which Hollywood really cannot do much about. Video games occupy young eyeballs. Technology now delivers a tsunami of entertainment options to our TVs, computers and iThings. But there are ways that Hollywood can respond. It can make movies that don’t suck, but that’s another subject for another time. And it can make the theaters into something new and different – that is, it can make them into places we want to be.

I (and folks like me) should be a target demographic for the green eyeshade guys who supposedly run Hollywood.  While, even if all the conditions were perfect, I wouldn’t go as much as I used to, I used to go a couple times a week before I was married, and even after I’d go weekly. I’ll spend my few free bucks (including the fortune for babysitters) if there’s something I want to see (doubtful, and again another issue for another time) and if going to the theater itself is something other than a nightmarish death march.

Which brings me to my trip to the El Segundo, California, ArcLight Cinemas on a recent Friday night to see “Tinker Tailor Soldier Spy”…

The ArcLight, and other “premium” theaters, represents the industry’s attempt to address some of the more common complaints about theaters from people like me – decrepit facilities, careless projection, and snack options that range from bland to hideous.  As a drunken college student, I didn’t mind going to some hellhole theater on dollar night to see awesome fare like “The Exterminator II” and “Pieces”– hey, aesthetics aren’t Consideration No. 1 when your flick’s tagline is “You don’t have to go to Texas for a chainsaw massacre!” But today, I want a little more than sticky floors and discreet ticket takers who overlook the beer cans I had obviously secreted in my pockets. (more…)

“Pina,” the new 3-D movie about Pina Bausch, isn’t a typical documentary detailing the highs and lows of her dance career.

This Oscar-nominated production merely explores one thing about the late choreographer: her legacy. Although Bausch may be well-known to those who have studied dance intricately, the name is likely an unfamiliar one to other viewers.

I didn’t know anything about her until I was invited to the film’s screening.  That being said, “Pina” delivers on what it attempts to do– it is an honorable and well-filmed tribute to a woman who changed the lives of so many of her students.

The history of the production of “Pina” is quite compelling. According to the film’s website, director Wim Wenders originally planned to make a movie about the dancer and the work she was doing, and Bausch fully approved the production. That film– a story about her ongoing work– was canceled when she died unexpectedly during pre-production.

But the end of that film begot the beginning of another– one that honored the legacy of the late dancer.

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Jerrol LeBaron didn’t bother to interview any lawmakers for his new documentary “Fools on the Hill.”

The film calls out politicians for routinely passing legislation, sometimes at a feverish clip, they haven’t so much as read. LeBaron thought it was foolish to bother asking them why they behaved in such a fashion.

“I judge an organization or a person by their actions and results, not by what they say,” LeBaron tells Big Hollywood. “The only reason to pass a law is to fix something, and they aren’t even looking at the problem … I could care less what they think.”

LeBaron serves as the Michael Moore-esque hero of “Hill,” an Everyman trying to drum up support for a bill that would require politicians to read new legislation before voting on it. We see LeBaron schlepping across North Dakota to convince people that his proposal will bring accountability to Congress. LeBaron’s mission would also allow for the public dissemination of future bills online so Americans can see what’s about to be considered.

It’s a truly nonpartisan affair. LeBaron doesn’t pick an ideological side in the film, and his roster of talking heads includes figures from the Left – Ed Begley, Jr. – as well as the Right – conservative talker Rick Amato.

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Veteran actor Ben Gazzara, best known for his collaborations with director John Cassavetes, has died at 81 after a battle with pancreatic cancer.

From The New York Times:

Mr. Gazzara studied with Lee Strasberg at the Actors Studio in Manhattan, where the careers of stars like Marlon Brando and Rod Steiger were shaped, and like them he had a visceral presence. It earned him regular work across half a century, not only onstage — his last Broadway appearance was in the revival of “Awake and Sing!” in 2006 — but in dozens of movies and all sorts of television shows, including the starring role in the 1960s series “Run for Your Life.”

If Mr. Gazzara never achieved Brando’s stature, that was partly because of a certain laissez-faire approach to his career: an early suspicion of film, a reluctance to go after desirable roles.

“When I became hot, so to speak, in the theater, I got a lot of offers,” he said in a 1998 interview on “Charlie Rose.” “I won’t tell you the pictures I turned down because you would say, ‘You are a fool.’ And I was a fool.”

And yet Mr. Gazzara’s enduring reputation may well rest on his film work, specifically the movies he made with Mr. Cassavetes, the actor and director revered by cinephiles for his risk-taking independent projects and a directorial style that encouraged spontaneity.

The new horror film “The Woman in Black” does just about everything right.

The setting is true-blue gothic down to the creaky mansion at the heart of the story. Star Daniel Radcliffe looks appropriately 19th century as the film’s worried lead. And director James Watkins, who previously gave us the terrific shocker “Eden Lake,” knows how to tease out every quivering shadow in the house.

But frankly we’ve seen it all before. The haunted house genre desperately needs a rest.

Let’s break down the shocks in “Woman” to better see what the problem is. Radcliffe’s character spends one very long sequence in the ghostly house in question. He sees shadows moving out of the corner of his eye, hears children’s toys whir into life even though no one is there to wind them up and catches glimpses of ghostly faces in window panes.

Seasoned horror fans will see just about every “scare” coming our way. And that’s because movie ghosts act in such predictable fashion.

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The venerable dance show “Soul Train” was never just about the music.

The series debuted at a contentious time in our nation’s history, and audiences of all colors could watch – and groove to – the sounds being spun by host Don Cornelius.

The “Soul Train” impresario may have passed this week at 75, but his musical and cultural legacy will endure, says Kansas City Star columnist Jenee Osterheldt:

The show first aired in 1971, on the heels of the civil rights movement, and it proved to be a great unifier. It served as a platform for black artists like Al Green and Johnnie Taylor, but it didn’t take long for the likes of Elton John and David Bowie to ride the train too. To me, that’s what makes it so important.

On “Soul Train,” you could tune in and see people of all colors and ethnicities singing and dancing together. What fan doesn’t remember Cheryl Song, the long-haired Asian dancer with moves to mimic? And Rosie Perez? She’s arguably one of the best dancers of the past few decades….

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Former child stars often take dramatic steps to prove their all grown up.

For Miley Cyrus, that means participating in racy photo shoots and announcing to the world her love of marijuana.

Actor Daniel Radcliffe is fessing up about his hard-drinking ways while promoting his first post-”Harry Potter” feature, “The Woman in Black.”

Turns out the fictional boy wizard was knocking back more than a few Coca-Colas before arriving on the set.

I have a very addictive personality. It was a problem. People with problems like that are very adept at hiding it. It was bad. I don’t want to go into details, but I drank a lot and it was daily – I mean nightly,” Radcliffe said to British celebrity news magazine Heat earlier this week.

“I can honestly say I never drank at work on ‘Harry Potter.’ I went into work still drunk, but I never drank at work. I can point to many scenes where I’m just gone. Dead behind the eyes,” the 22-year-old actor said.

Millennials are obsessed with capturing their lives online. Facebook, YouTube, Twitter. Most people are boring enough that their compulsive documentation is really unnecessary. The story of “Chronicle” is the exception.

Loner Andrew Detmer (Dane DeHaan), his cousin Matt Garetty (Alex Russell) and class star Steve Montgomery (Michael B. Jordan) are three high school students who stumble upon a glowing crystal-like object in the woods during a party at an abandoned warehouse. In the days that follow they realize they’ve acquired some a telekinetic power to control objects.

It’s not unlike the Force – something that first-time feature director Josh Trank dabbled with in his experimental short, “Stabbing at Leia’s 22nd Birthday.” But as their powers grow from moving a few Legos to crushing cars and flying, Detmer begins to change and lash out. When Garetty and Montgomery try to help, he only grows more violent. His downward spiral leads to an action-packed climax pitting friends and powers against each other.

For a “found footage” hand-held film, the movie has some great shots. It fits into the story – as his powers increase, Detmer uses part of his mind to control the camera, so all three young men appear in shots together. It’s a neat choice, and lets Trank be artistic in a movie that’s supposed to look amateurish. The story, by Trank and screenwriter Max Landis, has the depth and structure that films made by much older professionals often lack.

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Last week’s “Spartacus: Vengeance” season opener began with exactly what we want: some good old-fashioned bloodshed.

Spartacus and his small band of runaway slaves defeat of group of Roman soldiers. The show still looks like it should. It’s got the “300″-style CGI blood flying everywhere and plenty of slow motion. It also has a new Spartacus, and his name is Liam McIntyre. And no offense to the man, who seems like a nice enough bloke, but he ain’t no Andy Whitfield.

The first season of “Spartacus,” dubbed “Blood and Sand,” began a bit slow, but once the show found its footing by the third or fourth episode, it became almost too good television. It openly exploited violence and sex to push forward its story of the slave who fights for freedom and for his wife who has been taken from him after he and a group of his villagers decide enough is enough and refuse to continue helping fight the Romans’ war (how Libertarian of them).

The show featured great performances from all, including John Hannah (who is sorely missed here). But Whitfield was the solid rock of the show. He was a young Clint Eastwood: charismatic, stoic, a great actor. He told the story through his eyes and face, which was quite an accomplishment considering he was either naked or half naked the entire season.

Then tragedy struck, and unfortunately, the great actor is no longer with us. The show continued with a six episode prequel with a brand new lead. It was different but still good, and it continued the “Spartacus” tradition of delving into the darker and more animal-like sides of human nature through its depictions of sex, seduction, bribery, violence, etc. Now the show is put to the real test. Now we have a new Spartacus. (more…)

“The Theatre Bizarre” arrives as the second new horror anthology in the past few months, and thank the cinematic gods it isn’t as disastrous as its predecessor, “Chillerama.”

That misfire tweaked old school horror to calamitous effect, but “Bizarre” has no allegiance to any period or sub-genre. It’s all about making you squirm in your seat, and on that unambitious level gets the job done. Anyone eager to see gratuitous gore and copious nudity will also stand up and cheer. Those eager for storytelling nuance will find only scraps to feast upon.

The film gathers six short horror films and wraps them around the tale of a woman who wanders into a movie house to find a most unsettling show about to begin. She witnesses a stage full of quasi-humanoids more gears and metal than human. They’re uniquely creepy, and during the weakest segments of “Bizarre” you’ll wish the film would hurry up and get them back on the screen.

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“The Innkeepers” is the type of movie audiences don’t get a lot of anymore. Instead of relying on grotesque torture sequences (i.e. any entry in the “Saw” franchise) or scenes where things pop up to scare audiences (i.e. “The Woman in Black”), it delivers old-fashioned chills.

With no major stars to speak of and a cast that wouldn’t fill up a small elevator, this old-fashioned ghost story is definitely worth a look.

Written and directed by Ti West (“The House of the Devil”), the movie offers a familiar setting in an old, nearly-abandoned hotel. The creepy building is scheduled to close at the end of the weekend so only two employees remain on the property. Sara Paxton and Pat Healy play Claire and Luke, the two final staffers who are taking  turns working at the front desk. Claire is an inquisitive woman bent on finding out if the hotel is really haunted—as legend suggests—while Luke is a carefree slacker hoping for a relaxing weekend.

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“I like her make up. I’m pretty sure it was tested on animals.”

That’s one of the many lines the screenwriters use to show off the cold personality of Rachel Kramer (Drew Barrymore) in the new film, “Big Miracle.” Adapted from the nonfiction book “Freeing the Whales” by Thomas Rose, “Miracle” presents Kramer as a hardcore Greenpeace activist who is unwilling to watch three whales die when they are trapped five miles inland in northern Alaska.

Unfortunately, the heavy-handed script — full of obnoxious lines like the one above — and Barrymore’s poor performance undercut what could have been a decent family film.

The story revolves around three whales trapped in the middle of an icy landscape. The magnificent creature need pockets of unfrozen land to breathe and none exist around them, so they are forced to remain in a little hole that could freeze up at any time. That is until a reporter named Adam Carlson (John Krasinki) brings the story to a local television network.

His report receives worldwide attention because– it turns out–Tom Brokaw has “a thing for whales.“ Brokaw includes the report on a national newscast and soon enough, members of the media are swarming Alaska to save three whales that would have died otherwise.

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One positive thing to be said about Madonna’s new movie, “W.E.,” is that it is leagues better than her first directing effort, the 2008 “Filth and Wisdom.” But then many things are, periodontal surgery among them.

Unlike that earlier film, this one is beautifully photographed (by Hagen Bogdanski, who also shot “The Lives of Others”), and so the endlessly shuttling Grand Tour locations—London, Paris, Cannes—glide by in preening detail, and the deluxe interiors speak softly of serious money.

That’s the good part. The picture’s problem—well, one of its problems—is that it presents for our appreciative contemplation two of the most worthless jet-setting parasites of the last century: Edward, Duke of Windsor, and Wallis Simpson, the American clothes-horse divorcee for whom he abdicated the Throne of England. In 1937, directly after stepping down, Edward married his brittle inamorata, and together they spent the next 35 years doing absolutely nothing but spending epic amounts of his hand-me-down royal fortune in the gaudiest possible ways.

Having no other purpose, they became style icons among the international idle rich—he in his tailored tweeds, she in pricey Dior and Vionnet and the emeralds and pearls with which he continually showered her. Unsurprisingly, Madonna excavates this aspect of her subjects with gusto.

Real the full review at Reason.com

In May 2010, New York City Mayor Michael Bloomberg posited that the individual who packed a Nissan Pathfinder full of explosives and parked it in Times Square was likely a homegrown American “with a political agenda who doesn’t like the health care bill or something.”

Fortunately, the car bomb did not detonate.

The terrorist turned out to be Faisal Shahzad, a Pakistan-born U.S. citizen. And, not surprisingly, Shahzad wasn’t upset about the health care bill. After pleading guilty in court he said, “I consider myself a Mujahid, a Muslim-soldier.” He was upset, as he put it, over “American occupation of Muslim Lands.”

Shortly after the attack, Bloomberg prematurely asserted that there was no evidence suggesting the bomber was part of any recognized terror network. Shahzad later told the court he trained with the Pakistani Taliban to learn bomb-making and other related skills.

Could it be that Bloomberg has underestimated the threat of Islamist terror, or is there another agenda?

The issue has again become relevant in recent days. The New York Times ran a series of articles and editorials blaming the NYPD for using the film The Third Jihad: Radical Islam’s Vision for America as part of their counter-terrorism training. (more…)

“The Woman in Black” reaches back into the horror-movie past, long before mad slashers and crazed gore frenzies infested the genre, to present us with an unapologetically old-fashioned haunted-house exercise.

The picture pays vivid tribute to the fog-choked byways and richly decorated interiors of the old Hammer horror films (and is in fact the first release by that newly resurrected studio after some 30 years of commercial hibernation). But it also partakes of the narcoleptic pacing that hobbled some of those old pictures, and so despite this movie’s stylish design and agreeably vintage frights, it is also, sad to report, kind of boring.

The story is derived from a 1983 novel by Susan Hill that was previously adapted for British TV and radio, and has been running in a London stage version for more than 20 years. Clearly there’s an audience for this time-tested material; it only remains to be seen whether it’s an audience that also goes to the movies.

The setting is vaguely Victorian (although a briefly glimpsed newspaper story about Arthur Conan Doyle’s conversion to spiritualism would place it closer to the 1920s). Daniel Radcliffe, in his first post-”Potter” film role, plays Arthur Kipps, a morose young lawyer still shattered by the death of his wife in childbirth four years earlier. He is dispatched by his London office to the faraway village of Crythin Gifford, there to organize the estate of a recently deceased old woman. Arriving by train in the grim, unwelcoming village, he makes his way to her even grimmer residence—a dismal stone mansion situated in nearby marshlands at the end of a long road that’s submerged by high tides for many hours of each day.

Read the full review at Reason.com

Adam Carolla didn’t exactly endorse Donald Trump for president today. But the podcast king did toast The Donald’s entrepreneurial spirit.

Carolla, talking alongside fellow “Apprentice” contestant Penn Jillette, says he and Trump may not see eye to eye on every issue. But the country would be in far better shape if everyone approached work with the intensity Trump brings to every project he starts.

When it comes to roll your sleees up, get to work, stop complaining, get our nose to the grindstone, I like that part of Trump … you can start talking about Medicare and Medicaid and social programs, but to me if everyone had Trump’s attitude of, ‘I’m not gonna feel sorry for myself. I’m gonna roll my sleeves up, and I’m gonna bust my ass and get to work,’ we’d be living in a pretty decent country.”

“That part of  Trump, that part of Trump as a president, I would endorse.

Carolla is one of several contestants on the latest season of Trump’s “Celebrity Apprentice,” set to bow Feb. 19