Elvis Mitchell Quotes
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People can be incredibly proprietary about Superman. They think that the character belongs to them.
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In 'Training Day,' Mr. Washington's dry-ice grandeur - the predator's reflexes contrasting with a pensive mouth - deserves regard, and his powerhouse virtuosity will almost guarantee him an Oscar nomination.
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It is fun to see a comedy in which every single joke hasn't been packed into the trailer.
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It's an oddity that will be avoided by millions of people, this new 'Pinocchio.' Osama bin Laden could attend a showing in Times Square and be confident of remaining hidden.
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'Va Savoir' is a lovable comedy about love that looks upon life as drama and uses the world of the theater as a staging device.
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Just the idea of seeing a type of narrative we've not seen before is a chance to be surprised.
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Adapted from the novel by L. Ron Hubbard, who cranked out sci-fi pulp by the cubic ton, 'Battlefield Earth' has the musty feel of the days when the genre's highlight was Flash Gordon.
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For years, Ono's work - musical and otherwise - was, in large part, dismissed and derided; at best, it was often misunderstood.
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'The Third Man,' directed by Carol Reed and written by Graham Greene, is, quite simply, one of the finest movies ever made.
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Establishing mood through pictorial means is the director Ridley Scott's most notable talent. There may be no working director more accomplished at wringing texture out of the color blue than the prodigious and now prolific Mr. Scott; you'd swear that with his dazzling washes of blues and sand tones, he was inventing additional hues on the spot.
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'8 Mile' could do without an unnecessary class swipe. In a final throwdown, Rabbit clowns a competitor by revealing that the guy went to suburban Detroit Cranbrook, one of the finest private schools in the country.
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Though finally overwhelmed by a preening lassitude, 'Hotel' is never less than fascinating, breaking into multiscreen scenarios like Mr. Figgis's 2000 experiment, 'Timecode.'
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We want to see ourselves - but differently. We want to see these dream versions of ourselves. We want to be surprised; we want to be entertained. I think primarily, especially in this country, we ask that movies entertain us, which seems to be something they're less and less likely to do on a continual basis.
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You can't ignore the Asian and Hispanic populations in L.A. We can let audiences know independent film is not just about white men.
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Theron says that she was intrigued by the psychological demands of the material in playing the complicated 'Queen Ravenna', and Stewart's performance as 'Snow White', the fairest of them all, in her first action-heroine role, kept her literally in constant motion.
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In the early '60s, it was still a fairly subversive thing, though, to say that you should take a painting, cut it, set it on fire, step on it, hammer nails into it.
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Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
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Watching daring, high-tech criminals in action, I have the same thought that probably occurs to other moviegoers: if these guys just held on to some of the money they spend on equipment, they wouldn't have to turn to a life of crime.
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If Mr. Chan ever makes another movie like 'The Tuxedo,' it's American audiences that will see him in court. With 'Shanghai Knights,' he has come through with one of his best. This time, it's personable.
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A stand-up comedian who's assaultive and decent and has managed a career that has spanned over five decades deserves a documentary.
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Stewart's interest in serious acting gives her something in common with Theron - and, like Theron, some of her most provocative work has come through working with women.
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The road back from degradation begins with self-awareness - and sometimes, as in 'Phone Booth,' change can begin with a single phone call.
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Who would ever have thought that Robert Ludlum would have become the father of modern action cinema?
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I've been cheered by the reaction to what I've done with Film Independent at LACMA and the organizational support I've received in pursuing it.