It may seem hard to believe, given the months of hype and speculation, that record-shattering opening and the merchandise — so very much merchandise — but movies other than “Star Wars: The Force Awakens” opened in 2015.
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Fans of Quentin Tarantino know that if there’s one thing the writer-director loves — even more than bloody violence, music from the 1970s and women’s feet — it’s the sound of his own words.
When it was announced that David O. Russell’s next movie would tell the story of Miracle Mop inventor Joy Mangano, I couldn’t wait to see how the filmmaker responsible for such recent delights as “Silver Linings Playbook” and “American Hustle” could turn that into a compelling movie.
If 2015 has produced a more satisfying pop-culture moment than seeing Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) reunited with their beloved Millennium Falcon, accompanied by a bit of John Williams’ iconic score, I don’t want to know about it.
In the days before Wikipedia, many a student assigned to read “Moby-Dick” did so via CliffsNotes, those truncated little study guides that summarize a novel’s plot and themes at the expense of a real understanding of the text.
If nothing else, “Scrooged” should have taught Bill Murray the hazards of producing a live TV special on Christmas Eve.
In a year of reboots ranging from entertaining (“Mad Max: Fury Road,” “Jurassic World”) to dreadful (“Vacation,” “Terminator Genisys”), “Creed” may be the most surprising one yet.
One of the biggest drawbacks to adapting a series of books for the big screen, especially with the obligatory splitting of the final novel into two movies, is the lack of closure.
AMC abandoned its original moniker, American Movie Classics, long before it started churning out some of TV’s finest dramas.
Bored. Just bored. That’s the best way to describe sitting through “SPECTRE,” the butt-numbing extension of “Skyfall” that plods along ground so familiar, it’s easy to see how Daniel Craig could have grown tired of playing James Bond.