From the “X-Men” (2000)” to “Spider-Man” (2002) to “The Dark Knight” (2008), 21st-century Hollywood has been all about the comic book superhero. And of all the efforts so far, “The Avengers” may be the most shrewd business scheme Hollywood has ever dreamed up. You can hear the studio execs now: “Rather than make one superhero movie, let’s make five! We’ll introduce different superheroes along the way, then bring them all together in one super-blockbuster!” “The Avengers” is thus the culmination of Marvel’s “Iron Man (2008), “The Incredible Hulk” (2008), “Iron Man 2″ (2010), “Thor” (2011) and “Captain America” (2011). Continue reading →

You think you know the story,” the tagline says. But “The Cabin in the Woods” unfolds in most unexpected ways, mining pleasant surprises from genre archetypes as old as the hills have eyes. The plot sounds similar to “The Evil Dead” (1981) — five friends take a trip to a remote cabin in the woods, but stumble upon an ancient book that unleashes a horrific evil. The characters are familiar — The Whore (Anna Hutchison), The Athlete (Chris Hemsworth), The Scholar (Jesse Williams), The Fool (Fran Kranz) and The Virgin (Kristen Connolly). We’ve even seen the set pieces before, like the lake pier that recalls “Friday the 13th” (1980).

But there are two additional characters, Sitterson (Richard Jenkins) and Hadley (Bradley Whitford), who throw us for a loop, riding around a high-tech complex in the film’s opening scene. Who are they? And what is their goal? The answers reveal a post-modern commentary on the horror genre, our desire for voyeurism, and a vague stab at explaining why horror exists in the first place.
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It says something about the state of Hollywood when the year’s three biggest comedies — “21 Jump Street,” “American Reunion” and “The Three Stooges” — have all been reboots. Stay tuned for “Anchorman 2″ and “The Hangover Part III” next year. And so, we get “The Three Stooges,” a remake we should’ve seen coming from a mile away. Don’t even try to hold your hand up vertically in front of our eyes to stop it — Hollywood always finds a way to smack us over the head. Thankfully, the film disproves many of our preconceived doubts. Much of it is actually pretty funny, just not enough to make you drop on the ground and spin in circles. Continue reading →

“Near, far, wherever you are.” The unmistakable song lyrics from “Titanic” no longer belong just to Celine Dion; they now also apply to the effect of 3D glasses, changing our depth perception of the “iceberg right ahead.” The “unsinkable” 1997 blockbuster has returned to theaters in a special 3D re-release marking the 15th anniversary of the film and the 100th anniversary of the ship’s infamous sinking on April 15, 1912. Continue reading →

Hollywood offers two new takes on the “Snow White” fairy tale this year. In June, Charlize Theron (“Monster”), Chris Hemsworth (“Thor”) and Kristen Stewart (“Twilight”) star in “Snow White and the Huntsman,” which promises to be a darker rendition. Before that, however, we get a lighter take in “Mirror Mirror, ” starring Julia Roberts as The Queen, whose plan to kill Snow White is foiled by seven tiny rebels. Continue reading →

The Oscar race is on, “The Artist” and “The Descendants” are neck and neck, “Hugo” is going to the inside, and “War Horse” is struggling to get out of the starting gate. Don’t get me wrong. Steven Spielberg’s latest effort is a fine film. It’s just a pony among Best Picture stallions, and far from his own Top 10, where “Schindler’s List” beats “Jaws” in a telephoto finish. Based on a book by Michael Morpurgo, the film tells the tale of a miracle horse, from its days plowing English farmland for teenage owner Albert (Jeremy Irvine), to riding calvary missions in World War I. Continue reading →

I never thought a film could rival the mind-blowing reach of 2001: A Space Odyssey. Then up sprouted The Tree of Life. Writer/director Terrence Malick (Badlands, Days of Heaven) contemplates broad themes of life, death and spirituality by intercutting three threads: (a) the family story of a suburban father (Brad Pitt), graceful wife (Jessica Chastain) and problem child (Hunter McCracken); (b) the grief and regret of that son in his corporate adulthood (Sean Penn); and (c) the creation of the universe and the afterlife. Continue reading →

There’s a scene in Moneyball where Jonah Hill tells Brad Pitt, “I wanna show you a video.” Pitt says, “I’m not in the mood for film,” but winds up loving what he sees. The same goes for Moneyball, a film that cash-strapped moviegoers will find well worth the price of admission. It tells the true story of Oakland A’s General Manager Billy Beane (Pitt), whose low-budget team has just been purged by baseball’s high rollers. Continue reading →