Steven Spielberg's old-fashioned Prestige Picture, a literary adaptation of both a critical and a popular success, and one with tie-ins to both the black and feminist communities. These last connections give the director a chance finally to apply the universe-embracing ideals of Close Encounters and E.T., not just to imaginary …
A new take on the Steven Spielberg prestige pic.
Your traditional Christmas-card angel (Emmanuelle Béart, the title character of Manon des Sources), bathed in white light, caressed by gentle breezes, and with the wings of a pterodactyl-sized dove, is marooned on Earth when one of the latter gets broken. Awwwww. (A couple of nontraditional touches: she speaks in the …
Perhaps the oddest duck in the flock that included Steven Spielberg, George Lucas, Francis Ford Coppola, and Martin Scorsese — i.e., the lucky ducks who got to express very personal visions with studio-level backing back in the ‘70s — sits down and looks back on his career as a director, …
Makes the case that the medium isn't just the message, it's the magic. Specifically, there's a reason why a painting on a movie poster can do a better job of capturing the spell-casting power of cinema than a photograph can. At least when the painter is humble workaday genius Drew …
Totally not a remake of Steven Spielberg's E.T.: The Extra-Terrestrial. For one thing, there's no absent father. For another, the titular alien is a cute robot instead of a lumpen critter. For still another, he doesn't need to phone home. Rather, he needs to assemble the key to his ride, …
Nothing more ought to be required to dismiss Steven Spielberg's pretense of sweetness and innocence, or to dismiss the movie in toto from respectful consideration, than a glance at the death-scene of the monogrammatic spaceman. This sickroom spectacle is milked for all it is worth, with the normally cigar-colored creature …
Nothing more ought to be required to dismiss Steven Spielberg's pretense of sweetness and innocence, or to dismiss the movie in toto from respectful consideration, than a glance at the death-scene of the monogrammatic spaceman. This sickroom spectacle is milked for all it is worth, with the normally cigar-colored creature …
Nothing more ought to be required to dismiss Steven Spielberg's pretense of sweetness and innocence, or to dismiss the movie in toto from respectful consideration, than a glance at the death-scene of the monogrammatic spaceman. This sickroom spectacle is milked for all it is worth, with the normally cigar-colored creature …
Directed by Steven Spielberg, the surreal comedy stars Gabriel LaBelle as 16-year-old aspiring filmmaker Sammy Fabelman, Michelle Williams as his artistic mother, Paul Dano as his successful scientific father, Seth Rogen as honorary “uncle” to the Fabelman children, and Judd Hirsch as Mitzi’s Uncle Boris.
A Richard Donner Film, but “a Steven Spielberg Presentation.” The second fellow wrote the original story and was one-third of the team of executive producers, and the finished product is chock-full of Spielbergian ingredients: skeletons, bugs, bats, boulders. There is even (in the duplicitous spirit of E.T.’s resurrection) a moment …
Nobody is taken very much aback on meeting a pointy-eared furry little beast who speaks and sings in English, in a voice like Disney's Chip 'n' Dale. But after all, in this "typical" American small town (so beloved of executive producer Steven Spielberg), school is still in session on Christmas …
Director and co-writer William Dear joins the ranks of Steven Spielberg's Trucklers and Lackeys, Inc. Can a Seattle suburban family adopt Bigfoot as a pet -- or better, as a member of the family? Will they be willing to cut meat out of their diet and take down the hunting …
The children's book by J.K. Rowling, now a movie by Chris Columbus — maker of, among others, Adventures in Babysitting, Home Alone, Mrs. Doubtfire, Nine Months, Stepmom, and Bicentennial Man, chief rival of Steven Spielberg for his in-touchness with the Inner Child. No longer applicable, quite plainly, will be the …
Extremely unpleasant suspense film. C. Thomas Howell, drowsy at the wheel of a Chicago-to-San-Diego drive-away, pulls over and picks up a rain-soaked hitchhiker, Rutger Hauer (pretty unpleasant right there, you might think, but there's more). The passenger's conversation, occasionally punctuated by switchblade, consists of stuff like: "You wanna know what …