Olivia Newton-John once said of Vegas, “I was the opening act for a long time. I bounced around to different hotels,” before she opened at the Flamingo in April 2014.
Entertainment Columns
The stage adaptation of the 1963 comedy classic was the last project Jerry Lewis ever directed, in partnership with legendary composer Marvin Hamlisch.
Of the nine movies up for the top prize at Sunday’s awards, only “Parasite” and “Marriage Story” are contemporary tales.
For its 19th edition, scheduled for Thursday through Jan. 26, the festival is reaching farther outside the tent than ever before.
Not only is “Fifty Shades Freed” expected to spank the competition at this weekend’s box office, it will tie up the loose ends on an era of moviemaking.
I’m not certain if “Fifty Shades Freed” is marginally better than its predecessors, or if I’ve just grown accustomed to the awfulness of these movies.
The Dark Universe. The name doesn’t exactly capture the imagination, does it?
Found-footage movies have been a staple of horror cinema for years. But this psychological thriller feels like the start of a new genre: the lost-footage movie.
If Animal Planet were in the original movie business, “Megan Leavey” would be a perfect fit.
“Manchester by the Sea,” “Nocturnal Animals” and “Miss Sloane” count no fewer than seven potential acting Oscar nominations among them
It’s the movie theater you’ve been waiting for. Literally and figuratively. After a weeklong test run, Eclipse Theaters, 814 S. Third St., is celebrating its grand opening on Thursday, more than two years after its first announced opening date.
Put Tom Hanks in charge of pretty much any vessel — be it the container ship from “Captain Phillips,” the lunar module from “Apollo 13,” even the school bus from “Bachelor Party” — and something is bound to go wrong.
The Reese Witherspoon-Sofia vergara action comedy is little more than 87 minutes of bickering, embarrassing physical comedy, lazy insults and man shaming. But at least it’s awful in a genial way, compared to that angry, dead-inside feeling you got from watching “Paul Blart: Mall Cop 2.”
You don’t watch writer-director Paul Thomas Anderson’s hippie-noir take on that confusing maelstrom between the end of the ’60s and the start of the ’70s so much as you let it wash over you like the smell of patchouli.
Writer-director Christopher Nolan’s latest offers an intriguing mix of old and new, blending a ’70s-style aesthetic with cutting-edge special effects.
