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items tagged with Nashville

Four Stories and Seven Hours or So – Notes on a Quadruple Feature: "Divergent," "Muppets Most Wanted," "The Earth Wins," and "God’s Not Dead"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2014-03-25 20:01:29

Theo James and Shailene Woodley in DivergentMarch 24, 10:30 a.m.-ish: After several days spent visiting friends in Ohio – among them, now, my hosts’ adorable 17-month-old daughter – I return to my movie-reviewing duties filled with fresh perspective and hope for the future. Then I see Divergent, which earned $54.6 million over the weekend, and is already green-lit for two follow-up films. Well, the feeling was fun while it lasted.


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A Map of the World: "Cloud Atlas," "Chasing Mavericks," and "Silent Hill: Revelation"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2012-10-29 12:50:52

Tom Hanks and Halle Berry in Cloud AtlasCLOUD ATLAS

I’ve seen plenty of movies in which a number of excellent passages can’t seem to blend into a satisfying whole. But prior to the release of Cloud Atlas, the film version of David Mitchell’s sprawling 2004 novel, I don’t think I’d ever seen a movie in which so many merely adequate sequences combine to form a whole that’s not only satisfying but downright exhilarating. Directed by Tom Tykwer and siblings Andy and Lana Wachowski and running just shy of three hours, this genre fantasia should be a mess, and it oftentimes is. It’s also, however, a hypnotic, glorious, grandly entertaining mess, one that’s probably far more enjoyable than a more presentationally faithful adaptation would’ve been.


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"Companion" Piece: "A Prairie Home Companion," "Cars," and "The Omen"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2006-06-14 05:11:08

Garrison Keillor, Meryl Streep, and Lindsay Lohan in A Prairie Home CompanionA PRAIRIE HOME COMPANION

One of the many glories of Robert Altman is that he never pretends to know everything there is to know about the characters in his movies, and doesn't expect his audiences to, either. In an Altman film, you may think you have someone all figured out, until a later scene proves that you haven't begun to understand what makes them tick; Altman is fascinated with the dichotomy between characters' public and private faces. (It makes perfect sense that he eventually filmed a murder mystery.) It sometimes seems that there's not much going on in an Altman movie, and audiences could easily assume the same about the director's latest, A Prairie Home Companion. But if you're as enthralled with character as the director is, and with the drama of actors gradually revealing character, his ambling, "plotless" films can be sheer bliss.


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DVDs to Watch, and Watch Again: "The Squid & the Whale" and "The Dying Gaul"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2006-03-29 00:00:00

THE SQUID & THE WHALE and THE DYING GAUL

Before accepting his career-achievement prize at the Academy Awards this year, director Robert Altman – his voice-over accompanying clips from his works – explained his raison d’etre: “Stories don’t interest me,” he said. “Basically, I’m more interested in behavior.” Considering his contributions to film, the admission made perfect sense – how do you adequately describe the story of M*A*S*H or Nashville or Short Cuts? But it also touched on something elemental about the movie-going experience, in terms of the emotional connections we often make with the characters on-screen. When these literally two-dimensional figures reveal themselves to be as complicated and unpredictable, as human, as we are – when we recognize their behavior with a laugh or a nod or a wince – “story” doesn’t really matter a damn; the experience of watching characters just being can be its own spellbinding reward.


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"Love Actually" Is a Glorious Mess: Also, "Master & Commander: The Far Side of the World"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2003-11-19 00:00:00

Emma Thompson in Love ActuallyLOVE ACTUALLY

If you are to believe the (mostly) glowing responses to Love Actually, writer-director Richard Curtis has compressed material for a half-dozen romantic comedies into one, creating, in the words of one reviewer, “an epic romantic comedy.” But that’s not exactly accurate. For his first directorial outing, Curtis – the clever, funny screenwriter of Four Weddings & A Funeral and Notting Hill – has apparently decided to take every idea he’s ever had, every last one, and blend them into a frothy, holiday-themed confection; it’s less an epic romantic comedy than a romantic comedy shaped as an epic (which isn’t the same).


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