Depending on the metric, it’s the most popular television series in the world. It’s also the most difficult to write about.
Christopher Lawrence
Christopher Lawrence is the movie critic for the Las Vegas Review-Journal.
clawrence@reviewjournal.com … @life_onthecouch on Twitter. 702-380-4567
It turns out you really can get audiences excited about seeing an acclaimed movie that deals with moral complexity, war crimes and how many monstrous acts someone would commit against his friends simply to survive. You just have to make sure that most of the characters are monkeys.
Terry Notary has helped bring everything from Hulks to Whos, orcs to Na’vi, and every sort of ape imaginable — including those in this weekend’s “War for the Planet of the Apes” — to the big screen as one of Hollywood’s top movement coaches and motion-capture artists.
Some of TV’s biggest phenomena — “American Idol,” “Survivor,” “Dancing with the Stars,” “Who Wants to Be a Millionaire?” — all started in the summer.
With “Spider-Man: Homecoming,” fans finally have a movie centered on a Peter Parker (Tom Holland) who feels like the awkward teenage hero they grew to love in the comics.
Who would have thought that the cure for this summer’s blockbuster fatigue would be a modest film called “The Big Sick”?
Depending on whom you ask, Netflix is either the best friend you could have on a weekend or a reckless conglomerate trying to seduce your children into becoming suicidal anorexics.
The clunkily scripted film plays like a public service announcement reminding moviegoers that Elliott is an underappreciated Hollywood institution.
Of all the movies flooding the multiplexes this summer, none will ruffle your petticoat quite like writer-director Sofia Coppola’s atmospheric thriller “The Beguiled.”
There are simply too many ideas in this unnecessary sequel, none of which is really explored, for any of them to resonate.
You know the feeling when you leave a great movie and you can’t stop thinking about that one outstanding scene? At least half of “Baby Driver” is made up of those scenes, woven together by one of the finest soundtracks ever assembled.
It’s summer, and once again ABC is partying like it’s 1979. A low-rent 1979 at that.
It was, without question, the universe’s single greatest concentration of hairspray and spandex — with the possible exception of David Lee Roth’s tour bus. Beginning Friday, it’s being immortalized in the Netflix comedy “GLOW.”
Twenty years ago, Troma, the makers of “The Toxic Avenger” series, launched a screenwriting contest where each week, fans would submit the next two pages of a script, taking the story in any direction they chose.
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