The distinction evaded in the condemnation of Chris Rock’s joke and the apologetics for Will Smith’s act of violence is the difference between speech and physical force.
Today’s award shows aren’t about recognizing what’s best. They’re about pleasing the left.
Of the last 10 Oscar winners for Best Documentary, none has a higher IMDb rating than “Uncle Tom.” None. Only one matched its 8.9 rating. See you at the Academy Awards?
Actors should be judged on their acting, and movies should be judged on their overall quality.
The film simply asks: “Why is there no respectful disagreement in the black community? Why are great black thinkers like Thomas Sowell, Walter Williams and Shelby Steele ignored or marginalized by the black and mainstream media?”
The problem with Bombshell is that it doesn’t take women — or men — in any industry seriously.
The Star Wars inversion from 1977’s can-do Americanism to blank Nineties reboot and post-9/11 tribalism is complete. JJ Abrams directs and Kathleen Kennedy guides as Disney funds this mashup of mysticism and mainstreamed “social justice” pap.
The two-hour drama plugs Fred Rogers’ ideal that living for your own sake, “without hurting yourself or others”, is ultimately like making for yourself heaven on earth.
The Joker depicts with a penetrating portrayal by Joaquin Phoenix of the much-maligned, non-college-bred white male, which is why the “social justice” thugs hate this film sight unseen, the various factors that breed one of today’s most persecuted minorities, the American outcast, into monsters.
Scott Holleran on Bertolucci’s muted, mythological, China-themed masterpiece.
Gone with the Wind is an expression of the ability of the individual to resist the times, the trials and ruins of the day, rise and never let one’s ego be destroyed.
With the same voice cast and writer and director, Brad Bird, as the 2004 original, this Pixar sequel, which is being released 14 years after its animated characters debuted, offers more of the same. By my estimate, and I enjoyed The Incredibles with qualifications,...
Rogers sought to establish for the child a benevolent orientation to reality.
Unlike the abysmal Star Wars: The Last Jedi, Solo Emphasizes Story Telling Over Lefty Propaganda and Special Effects
The Curious Case of Benjamin Button, written by Eric Roth (Munich, which was morally repugnant) and directed by David Fincher (Zodiac, which was miserable) is breathtaking and, on purely cinematic grounds, it is a grand three hours, as the tagline says, of life...
That this movie exists is a cinematic achievement. Whatever my criticism, whatever its flaws, the movie about an American government official's deliberate, historic conspiracy — a real, proven conspiracy of corruption, deceit and silence, ahem, Oliver Stone — to cover...
Ben Affleck's 2012 movie, Argo, reduces the so-called Iran hostage crisis (1979-1981) to an episode of smaller proportions with satisfactory results. This isn't great cinema, and it leaves a lot of meaning, context and history out of the picture, but the docudrama, if...
History teacher Alexander Marriott examines facts and fiction about slave rebel Nat Turner in this exclusive interview by Scott Holleran about Nate Parker’s 2016 film, The Birth of a Nation.
This egalitarian ideal sets the standard as the color of one’s skin, or sex or sexual orientation, as against the quality of the movie, performance or direction.
United Artists' High Noon (1952) is a lightning rod of controversy. This compelling movie was made with the best talents and its taut, purpose-driven plot gains and keeps attention. Any honest appraisal must account for its flaws, too. I recently saw it again at the...
The controversial film about America’s 1831 slave rebellion undercuts the nature and power of Nat Turner’s story and makes everything seem too pat.
Clint Eastwood (Jersey Boys, American Sniper, Gran Torino, Invictus) made another little character masterpiece with Sully, starring Tom Hanks as Captain Chesley Sullenberger. Review by Scott Holleran
The attempt to smear winners of this year’s nominations for Academy Awards with “racism” is actually racism itself.
Star Wars: The Force Awakens is a clever and pleasant diversion about having faith that the good is possible.