Back in 2010, screenwriter Aaron Sorkin and director David Fincher teamed up to dramatize the creation of Facebook in the Oscar-winning drama The Social Network. Five years later, Sorkin and filmmaker Danny Boyle (Slumdog Millionaire) are taking a similar approach in exploring the life of the late Apple co-founder in Steve Jobs, and as it turns out, the two projects have far more in common than just their focus on technological pioneers.
In this edition of Montage, we discuss Melissa McCarthy’s hit comedy Spy, Roberts Downey Jr. and Duvall in family drama The Judge and Chris Rock’s latest directorial effort, Top Five.
Pop on the television, fire up your laptop and — naturally — take a trip to the movie theater, and without fail, society makes it very clear that this is an age run by nostalgia. As the millennials give way to the next generation, more and more focus is turning towards the past and the experiences that defined the late 1980s and 1990s. Case in point, 23 years after the initial book in the series, Welcome to Dead House, hit bookstores, Goosebumps has found new life as a big-screen adventure for the whole family.
Just like the horror genre as a whole, Gothic tales of murder and supernatural mayhem have their own set of themes and tropes that are commonly used to tell the story at hand. In Crimson Peak, director Guillermo del Toro (Pacific Rim, Hellboy) adheres to nearly all of them. Yet, despite the many tried-and-true story beats and haunting images, the film executes its narrative so artfully and meticulously that it warrants del Toro’s effort. Continue reading
Since the early 1980s, Nancy Meyers has been shaping the face of female-led comedies, with films like Baby Boom and Private Benjamin among her first projects as a screenwriter. By the time her directorial career really took off in the 2000s, Meyers had evolved her specialty to delving into the complex romantic lives of people of a certain age (Something’s Gotta Give, It’s Complicated). With The Intern, the writer/director finds the cross-section between these two eras of her storytelling career, with charming if uninspired results that should provide something for older and younger moviegoers alike.