As with most people, the word “reboot” sets my teeth on edge. I’m always a proponent of discarding tired concepts and flagging franchises in favor of original material. But reboots aren’t inherently bad. Tuesday’s “Ghostbusters” announcement offers hope that at least one upcoming remake won’t be cringeworthy. Read the rest at The Eagle.
Pay little mind to the historical accuracy police. For its unconventional approach to the biopic formula, for its unsentimental depiction of a man whose legacy practically demands sentimentality, for its powerful visualization of a protest in progress, Selma demands to be seen.
Last year at this time, I published a post with a series of hopes and dreams, big and small, for 2014. I’m happy to report that some of those hopes came true. A quick rundown:
I hoped that the third season of Sherlock is every bit as delectable as the first two. It wasn’t. The seams started to show, despite great moments. Oh well.
I hoped Jimmy Fallon’s transition to The Tonight Show would be smooth and hassle-free. Given NBC’s track record, this hope seemed far-fetched, but Fallon’s ratings are through the roof, and the qualities that made him a success on Late Night remain intact in the higher-profile timeslot.
I’m writing this blog post on a black mirror. A few minutes ago, I reached into my pocket and pulled out another black mirror. When I look up, I see another black mirror up against the wall in my home. And there are nearly a dozen more elsewhere in my house right now. I spend many hours each day in front of black mirrors. And after watching the British anthology series Black Mirror, I’m not sure how to feel about that.
Fairy tales come to life, and some die, in Into the Woods, Disney’s long-awaited screen adaptation of Stephen Sondheim’s beloved Broadway musical. Director Rob Marshall struggles with the trickier second part of that equation, but for the first hour or so, he conjures an engaging blend of Brothers Grimm fairy tales, soaring musical numbers and lively performances.
When Breaking Bad departed from television in a trail of crystal blue persuasion last September, television lost its center of gravity. At the time, this development seemed troubling. Without a consensus show around which to rally on social media, television fans and critics alike had to search elsewhere to find a show worthy of their devoted attention and undying affection. But a year removed from Walter White’s final blaze of glory, the loss of Breaking Bad seems more like a gift.
The consensus about this year’s television is that there is no consensus. Continue reading