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5 days ago · Directed by: Alan Parker. Source: Courtesy of Columbia Pictures. 44. Stranger than Fiction (2006) IMDb user rating: 7.5/10 (223,996 votes) Rotten Tomatoes audience score: 85% (402,110 votes ...
18 hours ago · Steven Spielberg’s black and white, beautifully shot film about a Nazi factory owner who endeavours to save his own slave labourers from the death camps was based on Thomas Keneally’s historical fiction novel Schindler’s Ark, which relied on interviews with real survivors. Where the needle falls between fact and fiction matters less than the balance Spielberg strikes between ...
1 day ago · Also in 2006, Latifah voiced Ellie, a friendly mammoth, in the animated film, Ice Age: The Meltdown (her first voice appearance in an animated film), and appeared in the drama Stranger Than Fiction. The summer of 2007 brought Latifah triple success in the big-screen version of the Broadway smash hit Hairspray , in which she acted, sang, and danced.
18 hours ago · Pseudo-Cicero, Letter to Octavian 7. “What a pitiful overthrow of the state–so fast and twisted, so rushed! Who will have the ability to entrust these events to words in a way that they seem facts instead of fiction? Who will have the ease of mind to read them as something other than fantastic, even when they have been faithfully recorded ...
5 days ago · In some cases, parodies are even better than the movies they’re spoofing, proving that a sprinkling of humor can elevate any genre. This list will delve into those films that define the parody subgenre at its best, covering everything from horror comedies, to spy capers, to teen flicks and beyond.
3 days ago · A subtle film where the religious undertones never overshadow the universally spiritual message. Big. (1988) It’s off to a slow start but if you’re looking for a real 80s immersion this is amongst your best bets. Parenthood. (1989) If only the 80s had an Academy Award for achieving both boring and depressing at the same time. Napoleon. (2023)
1 day ago · Criterion’s beautiful 4K restoration of Michael Powell’s taboo-breaking 1960 thriller is beautiful, turning the cinematic eye into a murder weapon. Mark Lewis (an appropriately alien-feeling Carl Boehm) is a serial killer who revisits his childhood trauma upon the women he obsessed over, films, then kills with his camera.
