Everything Everywhere All at Once, Review: Good, bad and worse, All at Once Trying to define Everything Everywhere All at Once is like trying to define a feature film itself. A narrative. A beginning middle and an end, an assembly of actors, some known some unknown, some from one country, others from other countries, playing roles or characters, an entity shot by a camera, consisting of motion and still pictures, mainly motion pictures. Of 70 minutes+ duration. Can currently be viewed on cine...

Minions-The Rise of Gru, Review: One in a minion Minion and Villain don’t rhyme. They shouldn’t. After all, what is a primary school kid doing? Yes, he is almost a dwarf, and we would love to see his rise. But rise as what? An arch-villain? A super-villain? There are some movies in which good, clean, animation fun turns into adult stuff that can affect the mind-set of millions of viewers. Films need not preach or moralise, but they need not glorify villainy either. This is one suc...

Last Christmas, Review: Rom-com gone tragi-com A film that is titled Last Christmas could work its title two ways, either as the last Christmas of someone who is not going to see another one, or as referring to something that happened at last year’s Christmas. Since it chooses the latter path, you presume it will be a film full of happy memories of the lead actors. Sadly, there is very little that is happy about Last Christmas. For all it is worth, the title might have had the former co...

  by Quendrith Johnson, Los Angeles Correspondent   With the recent Buzzfeed headline that last night's Golden Globes winner Jennifer Lawrence stars in "the First Film with a Female Lead to Top the Box Office in 40 Years," it still stuns many in Hollywood that Hunger Games 2 actually beat up Iron Man 3 in the money race. Catching Fire is the top-grosser of 2013, but, this movie also officially ushers in a new genre.  We've gone from Chick Flicks to Chicks ...

These two films got big audience responses last week at the AFI Film Festival in Los Angeles.   “Pina,” a 3-D documentary about the legendary German choreographer Pina Bausch, starts with her re-envisioning of Stravinsky’s “Rite of Spring” as a thrilling discovery of female sexuality. The film jumps—you cannot gently segue away from “Rite”—into other dances she choreographed, along with brief interviews with her dancers. When Wenders voices that this is no...