The new film “Anonymous” embraces one of literature’s most enduring questions – did William Shakespeare actually write the plays, sonnets and poems which secured his spot as the greatest English-language writer?

W. Scott Howard, an associate professor at the University of Denver’s English Department, contends “Anonymous” only scratches the surface of the mystery, but it might just make a few ticket holders brush up on their Shakespeare as a result. (Warning: Spoilers ahead)

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Big Hollywood: What was your overall impression of “Anonymous?” What impact do you think the movie will have on the subject matter? Could the film move the needle one way or the other on popular opinions regarding Shakespeare?

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Thor, perhaps the most Shakespearean of Marvel Comics heroes, is a refreshingly fun adaptation of another comic character destined for franchise glory. In an inspired piece of hiring, “Thor” is directed by Kenneth Branagh, famous for his numerous Shakespeare adaptations. His unabridged version of “Hamlet” was my favorite screen version of the Great Bard’s most famous work, and though it’s no surprise that he can stage a large production, it’s good to know he can handle the physicality of a CGI-laden blockbuster as well.

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In this one, Thor (Chris Hemsworth) hails from the realm of Asgard, and is apparently more of an alien than a god or deity. Cast out of Asgard by his father Odin (Anthony Hopkins) as punishment for narcissism and disobedience, Thor’s stripped of his powers and banished to our little marble, landing in small town New Mexico. There, he’s confronted by a world that greets his stories of fantastic kingdoms and powers with scorn, and where his mighty hammer, containing the thundery awesomeness of his powers, remains inaccessibly stuck in a block of stone. Thor then must not only clash with a civilization that doesn’t respect his ancestry, but also with the machinations of villains back home and some surprisingly well-intentioned government agents. (more…)

You might think that there’s no way young kids would be interested in Shakespeare plays, but Elton John has found a way to get their attention. By taking out all the sex and suicide, putting in a mix of two catchy new songs amid an array of his all-time greatest hits, and updating the story to focus on star-crossed lovers from warring teams of garden gnomes in modern-day Stratford-upon-Avon, he (as executive producer) has led a team of cutting-edge animators to create the 3D  film “Gnomeo and Juliet” – a fun-filled romp that should entertain adults just as much as their children.

The story focuses on the garden gnomes found in two neighboring yards, who are distinguished respectively by their red and blue outfits. Each side has been at war with the other for as long as they remember, largely due to the fact that their human owners hate each other.

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Amid the intricate worlds of each garden – which are laid out in snappy musical montages – are the two title characters, who each wonder why their side has to hate the other. They meet in cute fashion and start a secret romance, and just like in the original “Romeo & Juliet” things go awry when they are caught together, leading to a series of seemingly tragic events.

The key word here, in this G-rated rendition of the tale, is “seemingly.” For in keeping with the need to protect young minds while ultimately using the storyline to teach a message of tolerance in an entertaining rather than heavy-handed fashion, Elton John and his talented team reinvent the play’s third act to create a much happier outcome than the original. While this might upset particularly uptight purists, for most this will mean that the storyline has not only been rendered with more innocence, but with a sense of the unexpected as well.

The film is packed with amusing references to John’s musical career, including a hilarious moment in which a gnome named Benny dances on a computer keyboard while it inadvertently blasts out the opening keyboard riff from “Bennie and the Jets” and another gnome’s twisted take on “Your Song” to describe his nasty cold.  Director Kelly Asbury  (“Shrek 2”) also handles the frequent action scenes with just the right blend of mischief and danger, while also subtly wringing tears with a sad montage that details the way a lawn flamingo lost his greatest love in a gripping new John ballad called “Love Builds a Garden“ that ranks with his finest tunes. (more…)

In the Age of the Hollywood Sucker Punch, betting your time and dollars on movies and TV is more perilous than ever.

As often as not, you can expect to fork over $20-$40 at the theater expecting to laugh, cry, and be entertained. . .

. . . only to find yourself trapped in a widescreen, 3D, surround sound, stadium-seated liberal indoctrination chamber.

With TV, you can dedicate months and years to becoming a dedicated fan of a series. . .

. . . only to suddenly start getting lectured on what creeps you and your family are by dint of your politics/religion/gender/race/fill-in-the-blank.

Closing in on two years patrolling the mean streets, Big Hollywood already has dozens of posts that document these lies, cheap shots, and propaganda in grim detail. Amidst the cultural carnage conservatives step ever more gingerly, sifting through the rubble for scraps worth investing in.

One way most of us navigate this minefield is by discerning which actors — big, well-known, picture-opening actors — are worth trusting on name alone. No one has a perfect record, but the best gain our confidence by routinely choosing projects that hew to some modicum of quality, decency, and fair play. You may not agree with the underlying message or political slant of their movies, but that’s not the point — it’s completely possible for conservatives to love great liberal movies and vice versa. Rather, these actors convince us over the course of their careers that they aren’t likely to sucker punch their fans, or to embarrass their country, profession, or family by allowing politics and prejudices to tarnish their public reputations and filmed entertainments. (more…)

Forty years ago this week the cover photo for the “Abbey Road” album was taken, representing the final walk of the Beatles as a rock group.

Fourteen days later, on August 22nd, they posed together for a final promotional photo shoot, which was their last appearance together at any Beatles event. Although one more album was released (“Let it Be”), “Abbey Road” was the last album recorded by the band, which was already virtually dissolved as a unit. Yet the album was a great artistic and commercial success. The “Let it Be” album was intended to be released first, but the group did not think it ready. They moved on to record “Abbey Road” and released it on September 26th and October 1st, 1969, respectively, in the UK and the US. The cover photo, fittingly designed by Paul (as he was the only member who had a passion to keep the group together; even as he finally sued to end the partnership), depicts the band’s final crossing of “Abbey Road,” toward their studio home of the prior eight years. Ironically, even bizarrely, convicted murderer and “wall of sound” creator, Phil Specter, did the final mixing in 1970 of several songs on “Let it Be,” almost as an audition. He was not aware there would be no more Beatles, although he did some work for Lennon’s Plastic Ono Band. (more…)