Playing a formidable, crusty history maker in supporting mode, Tommy Lee Jones keeps things watchable, but a dull lead character and a fabricated romance doom vitality and credibility in “Emperor.”
This latest release from Hollywood's history-as-entertainment tap dramatizes an investigation led by U.S. Gen. Douglas MacArthur into whether Japan Emperor Hirohito should be tried for war crimes.
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Seth McFarlane might have been a sucky Oscars host, but it’s not like he writes all the jokes. Jesse Joyce scribes a large bulk of them and has made a tradition out of tweeting the ones the Academy rejected:
“Brokeback was abt gay lovers & in Life of Pi Ang champions the lesbian cause b/c the main character’s afraid of dying alone w/ a cat.”
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Pulitzer Prize-winning playwright Tony Kushner of “Angels in America” fame wrote the new movie “Lincoln,” filling roughly 145 of its 149 minutes with dialogue.
In four scenes, maybe, characters are actually doing, rather than saying, something.
Yet Steven Spielberg, one of America's best directors, makes the movie come alive; watching it is like eavesdropping on history.
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The original “Men in Black” was an inspired summer popcorn movie. As Agent J, Will Smith was fleet of foot and mouth, and Tommy Lee Jones as Agent K had a countenance like granite and a delivery like barbed wire. They clashed and complemented each other beautifully.The tricky visual effects didn’t overshadow the characters’ sublime chemistry.
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There was a time, in the 1970s, when stories of middle-class alienation and dreamers struggling to get ahead were invariably set in New York. Lately, such accounts of white- and blue-collar angst have moved 200 miles up I-95 to the Boston suburbs, where the fight to survive isn’t exclusively the domain of street hustlers and last-chance athletes.
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