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Strictly Ballroom (1992)
Strictly Ballroom starts as an edgy, in-your-face mockumentary satirizing the rigid pretensions of people who take competitive ballroom dancing way too seriously. Then by imperceptible degrees it morphs into a complicated tale of generations and families, ultimately turning in a crowd-pleasing fairy-tale ending.
Stuart Little 2 (2002)
Remarkably, Stuart Little 2 manages to be both more satisfying for adults and more kid-friendly than the original. Older viewers will appreciate the sequel’s stronger story and witty script; and even little kids who might have found the original film’s menacing Central Park gangster cats too intense may be able to watch this film’s villainous falcon without fear of bad dreams.
The subversive non-subversiveness of “Phineas and Ferb”
There are at least a half dozen reasons “Phineas and Ferb” never should have existed, and how fortunate for viewers of all ages that it does.
Sullivan’s Travels (1941)
The comic genius Preston Sturges believed that laughter is the best medicine, and that what people in hard times want is to forget their troubles and escape for 90 minutes or so into a world of lighthearted comedy, snappy repartee and slapstick silliness.
Sully (2016)
Many actors come to own the roles they play so completely that once you see them, you can’t imagine anyone else in the part. Tom Hanks plays roles in which you can’t imagine anyone else even before you see him.
The Sum of All Fears (2002)
Though constructed as an action-oriented thriller, the film’s centerpiece is a wrenching glimpse of a scenario that may be in our nation’s future, depicted in a way that’s neither sensationalized nor minimized.
Summer Hours (2008)
French director Olivier Assayas’s Summer Hours opens with a glimpse into a world that has already passed away, though not all the characters realize it yet.
The Summer’s Best-Kept Secret: From Up on Poppy Hill
Co-written by Ghibli co-founder Hayao Miyzaki and directed by his son Goro Miyazaki (Tales From Earthsea), From Up on Poppy Hill is a gently naturalistic departure from the high-flying fantasy for which the studio is best known.
Sunshine (2007)
For an hour or so it threatens to be one of the best movies of the year, but in the end, despite sci‑fi razzle-dazzle and some undeniably powerful images, Sunshine ultimately settles for puzzling rather than mysterious.
Super 8 (2011)
Gone are the days when a movie like E.T. could open to a mere $11 million, build on word of mouth, and go on to earn more than $350 million in North America. Obviously, Abrams remembers those days. In a way, Super 8 is as derivative and familiar as anything in theaters today, only the movies it’s copying are all over a quarter of a century old: Spielbergian fare like The Goonies, E.T., Gremlins and Close Encounters, with echoes of earlier and later films.
Super 8 [video] (2011)
J. J. Abrams is a skilled storyteller, but has a bad habit of over-promising and under-delivering.
Superhero movies and Catholic faith
Less than two months ago, the British Catholic writer Stratford Caldecott died after a lengthy battle with cancer. In the weeks prior to his death, his name became improbably entangled in a viral Twitter storm that made international news in connection with the superhero movie Captain America: The Winter Soldier, now available on home video.
Superheroes of Summer 2011: What Our Heroes Tell Us About Ourselves
What do today’s superhero movies tell us about ourselves? For one thing, we’re more skeptical these days about heroes and heroism. In contrast to the stoic confidence of the typical Western hero — or even of Christopher Reeves’ Superman, who as late as 1978 could unabashedly say, “I’m here to fight for truth, justice and the American way” — today’s heroes have feet of clay, and have to grow into their heroic roles.
Superman (1978)
A classic tribute to an American pop-culture icon, Superman is the first great comic-book movie and a nostalgic ode to the ideals of a more innocent time.
Superman II (1981)
Superman II isn’t perfect, but in the annals of comic-book movies it remains an indispensable touchstone.
Superman Returns (2006)
From the rousing fanfare of the classic John Williams score to the comic book–inspired opening credits, it’s clear that Superman Returns means to be nothing less than the film that Superman III could have and should have been, but wasn’t. Except it’s actually better than that.
Support Your Local Sheriff! (1969)
James Garner brings a variation on his "Maverick" persona to this classic satirical Western that, even more than Destry Rides Again, does for Westerns what The Princess Bride did for fairy-tale fantasy, at once spoofing and honoring the genre’s conventions and clichés.
Swiss Family Robinson (1960)
The film simplifies the original story in many ways, reducing the book’s four sons to three and the half-dozen or so homesteads and plantations the Robinsons build to the one famous treehouse. Wyss’s fantastical menagerie, which included penguins, kangaroos, flamingos, lions, and boa constrictors living side by side, is only slightly restrained by a century and a half of scientific advancement, and the book’s strong element of religious devotion and moral discipline is largely reduced in the film to a moment of silent prayer on the beach.
The Switch (2010)
The Switch is about an attractive woman in her early 40’s with a history of unfortunate relationships and a gnawing concern that she’s been hitting the snooze button on her biological alarm clock for too long. I can’t imagine why they cast Jennifer Aniston.
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