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Website title: Movie Nation | Roger Moore's film criticism, against the grain since 1984.
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The title of the touring exhibition “Giants,” featuring works by Gordon Parks and Jean-Michel Basquit, is a pun.
The musical power couple Alicia Keyes and Swizz Beatz have collected works by those familiar names in art history — “Giants.” And, as evidenced by the collection of statuary, installations, wall-covering paintings, blown-up photos, commissioned self-por...
Actors have an old saying. If you’re not getting work, create work for yourself.
Career bit player Alexi Wasser takes that advice with “Messy,” a comedy about a single thirtysomething sexing her way through many Mister Wrongs in a hunt for Mister Right.
It’s more gutsy than funny, because not many actresses — even you...
“The Rip” starts out bloody and gets bloodier.
The dirty cops and drug money plot is messy. And turns messier.
It hits “preachy” hard, and then becomes even preachier.
The copshop cliches, quips and acronyms pass by in a blizzard of blue bloods blather.
And at some point, this “Fast and Furious” meets “Miami Vice” mash...
Nobody much is going to the movies this mid-January Martin Luther King Day weekend.
The widest new release, a “28 Days Later” sequel — “28 Years Later: Boneyard” — that NOBODY asked for, had an underwhelming Thursday night (just over $2) and middling ($5.8 million) Friday and may dethrone “Avatar: Fire & Ash” with a $13-15 million take.
Artists who make their mark on the world are the ones who dare to experiment, who take big chances in the belief that they can show us something new.
Werner Herzog’s “Heart of Glass” was such an experiment, a hypnotic Bavarian period piece about prophecy, class, tradition, lost knowledge and the fragility of existence. Herzog, at the peak of his ar...
