Category: Features

  • Five Times Movies Made Us Realize Being an Astronaut Sucks

    Five Times Movies Made Us Realize Being an Astronaut Sucks

    With ‘Ad Astra’ hitting theaters this weekend, all it took was staring into Brad Pitt’s lost little boy eyes as he dodges space debris to get us thinking about how we had it all wrong. When adults asked us what we wanted to be when we grew up, chances are we exclaimed “Astronaut!” more than once, but movies have actually spent a long time telling us why that’s a terrible idea. Alongside the bravery, intelligence, and pioneering spirit of everyone involved in a space program comes enormous risk.

     

    ‘Interstellar’ (2014)

    With Earth in serious trouble, humans are looking to the stars in this Christopher Nolan film starring Matthew McConaughey, Jessica Chastain, and Anne Hathaway. But with all the talk of relativity and “where did these marks on my floor come from?” there’s no time for lounging around and laughing like you’re in a soda commercial. McConaughey ends up spending what ends up being his family’s whole life trying to save the planet, so he ends up just having to go back to space to hang out with the closest thing he has to a lady love.

     

    ‘Gravity’ (2013)

    If you ever took gravity for granted, watching this Academy Award-winning Sandra Bullock film will quickly shift you into an attitude of gratitude. As her mission to upgrade the Hubble telescope goes horribly wrong thanks to a Russian missile strike, Bullock spends the entire movie figuring out how to drift away from certain things and towards others to get home. Heaven help you if you saw this movie in 3D. Audience members left the theaters and reportedly kissed the ground. Or…was that just us?

     

    ‘Moon’ (2009)

    It’s bad enough taking a job to go to space and hang out by yourself mining fuel, but it’s even worse when your communication signals get jammed except for video voicemails from your boo on Earth. It becomes incomprehensibly bad when you learn that the signals were blocked on purpose by your boss AND you’re a clone. Things swing back to being good when you realize that having clones means you have company, but then they get bad again when you realize those clones are jerks and you’re the dumbest one.

     

    ‘Apollo 13’ (1995)

    Humankind has always been fascinated by visiting that big rock in the sky. Humankind’s second thought should be how petrifying any trouble up there would be. Apollo 13, the mission led by Jim Lovell, and the movie led by Tom Hanks, exemplifies both the resourcefulness of our space program and why it’s best for most of us to stay grounded. Mechanical failures abound—explosions, leaks, transmission blackouts. And as if that weren’t enough, human mechanical failures make things even worse, with urinary infections and freezing temperatures. By the time these guys land you’ve stress eaten three days’ worth of calories.

     

    ‘First Man’ (2018)

    Damien Chazelle and his team conveyed a body-shaking version of what it was like to be a meat sack propelled into space in a tin can at the start of the space race. While movies about space have always had the deep bass of rocket boosters, First Man exponentially upped the ante by conveying just how precarious the structures were on top of that enormous power. Between launches, training scenes, and occasional crashes in fields, the movie never seems to stop shaking. Poor Baby Goose. 

  • Five Reasons We Love Jada Pinkett Smith

    Five Reasons We Love Jada Pinkett Smith

    Today in history, Fish Mooney, Lyric, Niobe, and many other characters you love rushed into the world in Baltimore, Maryland, taking the form of Jada Pinkett Smith. The word multi-hyphenate is created for artists like Smith, so today we celebrate some of her best (and sometimes surprising) turns.

     

    Playing Peaches in ‘A Low Down Dirty Shame’ (1994)

    ‘A Low Down Dirty Shame’ is the film Smith considers her breakout role, playing an ex-con-turned-detctive’s-assistant Peaches. Her skills are limitless and include wheeling trojan-housekeeping carts into the middle of drug deals, knowing that singing James Brown wards off dog attacks, and a mean right hook. She remains the most badass figure in cinema named after produce.

     

    Her band, Wicked Wisdom (2005- )

    As the matriarch of a family known for their penchant for gettin’ jiggy wit it, her foray into music was at the helm of a heavy metal band called Wicked Wisdom. Their 2006 album made it to Billboard’s Top Heatseekers chart and peaked at 44 in March of that year. The band was blessed by heavy metal mogul Sharon Osbourne who said Smith’s performance “blew [her] away,” and they played Ozzfest in 2005.

     

    Playing Lisa in ‘Girls Trip’ (2017)

    Despite being believable uttering lines like “automobiles are polluting monstrosities” in True Colors, Smith doesn’t seem like a bummer of a person. Lisa Cooper in Girls Trip makes you question everything you think you know, though, when she shows up to New Orleans for a good time wearing “hand stitched embroidery from Guatemala.” A huge hit with audiences and critics, Girls Trip is a modern classic for the zip-lining-while-urinating scene alone. 

     

    Her book, ‘Girls Hold Up This World’ (2005)

    Smith’s first book for young readers contains vibrant photography illustrating the empowering message that “every color, shape, and size, we’re united by beauty inside.” It is the recipient of NAACP Image Award for Outstanding Literary Work in Children’s Literature.  You can get copy here.

     

    Her series, ‘Red Table Talk’ (2018- )

    In its second season on Facebook Watch, the show hosted by Smith includes three generations of her family discussing topics where honesty is a must. It has received an Emmy nomination as a reward for the courage displayed by Smith when she makes eye contact with her daughter and asks her what she thinks about monogamy (scream emoji).

    Happy birthday, Jada Pinkett Smith!

  • 11 Times Pixar Movies Made You Ugly-Cry

    11 Times Pixar Movies Made You Ugly-Cry

  • Cannes 2019 Awards: ‘Parasite’ Wins Palme d’Or, Antonio Banderas Wins Best Actor

    Cannes 2019 Awards: ‘Parasite’ Wins Palme d’Or, Antonio Banderas Wins Best Actor

    Sony Picture Classics

    The top prize at this year’s Cannes Film Festival went, by unanimous decision, to South Korean director Bong Joon-ho for his politically charged “Parasite,” about a lower-class family who try to infiltrate a rich household.

    It’s the first Korean film to win the coveted Palme d’Or.

    Meanwhile, 25 years after collecting the Palme d’Or for “Pulp Fiction,” Quentin Tarantino’s “Once Upon a Time in… Hollywood” went home empty-handed. Apart from winning the Palm Dog award for the pit bull who plays Brad Pitt’s dog in the film.

    Best Actress went to Emily Beecham for Jessica Hausner’s sci-fi thriller “Little Joe.” She plays a scientist whose genetic modification experiment goes awry.

    Antonio Banderas was awarded Best Actor for his performance in Pedro Almodóvar’s semi-autobiographical “Pain and Glory.” Dedicating the award to Almodóvar — with whom he’s worked since the ‘80s — Banderas said, “People think we live in a red carpet, but it’s not true. We suffer a lot, we sacrifice, and there is a lot of pain behind an actor of any kind. But there is also glory, and this is my night of glory,” before promising, “The best is still to come.”

    Terrence Malick also picked up a prize for his latest film, “Hidden Life,” as did “The Witch” director Robert Eggers for his arthouse thriller “The Lighthouse.”

    Mati Diop, the first black female filmmaker in competition at Cannes, earned the Grand Prix for her debut feature, “Atlantics.”

    The jury for this year’s festival was headed up by director Alejandro Iñárritu:  Also on the panel: French author-artist-director Enki Bilal, French director Robin Campillo, Senegalese actress-director Maimouna N’Diaye, American actress Elle Fanning, Greek director Yorgos Lanthimos, Polish director Paweł Pawlikowski, American director Kelly Reichardt, and Italian director Alice Rohrwacher.

    COMPETITION
    Palme d’Or: “Parasite,” Bong Joon-ho
    Grand Prix: “Atlantics,” Mati Diop
    Director: Jean-Pierre and Luc Dardenne, “Young Ahmed”
    Actor: Antonio Banderas, “Pain and Glory”
    Actress: Emily Beecham, “Little Joe”
    Jury Prize — TIE: “Les Misérables,” Ladj Ly; “Bacurau,” Kleber Mendonça Filho and Juliano Dornelles
    Screenplay: Céline Sciamma, “Portrait of a Lady on Fire”
    Special Mention: “It Must Be Heaven,” Elia Suleiman

    OTHER PRIZES
    Camera d’Or: “Our Mothers,” Cesar Diaz
    Short Films Palme d’Or: “The Distance Between the Sky and Us,” Vasilis Kekatos
    Short Films Special Mention: “Monster God,” Agustina San Martin
    Golden Eye Documentary Prize: “For Sama”
    Ecumenical Jury Prize: “Hidden Life,” Terrence Malick
    Queer Palm: “Portrait of a Lady on Fire,”  Céline Sciamma

    UN CERTAIN REGARD
    Un Certain Regard Award: “The Invisible Life of Eurídice Gusmão,” Karim Aïnouz
    Jury Prize: “Fire Will Come,” Oliver Laxe
    Best Director: Kantemir Balagov, “Beanpole”
    Best Performance: Chiara Mastroianni, “On a Magical Night”
    Special Jury Prize: Albert Serra, “Liberté”
    Special Jury Mention: “Joan of Arc,” Bruno Dumont
    Coup de Coeur Award: “A Brother’s Love,” Monia Chokri; “The Climb,” Michael Angelo Covino

    DIRECTORS’ FORTNIGHT
    Society of Dramatic Authors and Composers Prize: “An Easy Girl,” Rebecca Zlotowski
    Europa Cinemas Label: “Alice and the Mayor,” Nicolas Parisier
    Illy Short Film Award: “Stay Awake, Be Ready,” An Pham Thien

    CRITICS’ WEEK
    Nespresso Grand Prize: “I Lost My Body,” Jérémy Clapin
    Society of Dramatic Authors and Composers Prize: César Díaz, “Our Mothers”
    GAN Foundation Award for Distribution: The Jokers Films, French distributor for “Vivarium” by Lorcan Finnegan
    Louis Roederer Foundation Rising Star Award: Ingvar E. Sigurðsson, “A White, White Day”
    Leitz Cine Discovery Prize for Short Film: “She Runs,” Qiu Yang
    Canal Plus Award for Short Film: “Ikki Illa Meint,” Andrias Høgenni

    FIPRESCI
    Competition: “It Must Be Heaven” (Elia Suleiman)
    Un Certain Regard: “Beanpole” (Kantemir Balagov)
    Directors’ Fortnight/Critics’ Week: “The Lighthouse” (Robert Eggers)

    CINÉFONDATION
    First Prize: “Mano a Mano,” Louise Courvoisier
    Second Prize: “Hiéu,” Richard Van
    Third Prize — TIE: “Ambience,” Wisam Al Jafari; “Duszyczka” (The Little Soul), Barbara Rupik

    [Via Variety]

  • Every Star Trek Movie, Ranked

    Every Star Trek Movie, Ranked

  • 14 ‘Game of Thrones’ Villains You Love to Hate, Ranked

    14 ‘Game of Thrones’ Villains You Love to Hate, Ranked

  • 11 Awesome Heist Movies You Should See Before Watching ‘The Hustle’

    11 Awesome Heist Movies You Should See Before Watching ‘The Hustle’

  • ‘Serenity’ and 10 More Crazy Movie Plot Twists That Totally Blew Your Mind

    ‘Serenity’ and 10 More Crazy Movie Plot Twists That Totally Blew Your Mind

     

  • 17 Great TV Shows Saved by Fans, From ‘Brooklyn Nine-Nine’ to ‘Arrested Development’

    17 Great TV Shows Saved by Fans, From ‘Brooklyn Nine-Nine’ to ‘Arrested Development’

  • The 10 Biggest Box Office Flops Of 2018

    The 10 Biggest Box Office Flops Of 2018

    Audiences can be a fickle bunch, but it’s not always their fault.

    Sometimes the timing of a film’s release is wrong, or lands at a moment where people fail to see it. Sometimes the marketing of a movie misses its mark and fails to connect. Sometimes reviews reinforce moviegoer skepticism and they decide to stay away. But sometimes, a movie is just bad, and no silk hat is going to make that pig any prettier. But that doesn’t mean those movies aren’t good — or even great. In many cases, it merely means that their time to shine is yet to come – be it internationally, on home video, or on streaming services.

    As we assemble a list of the year’s biggest box office flops,  look at the titles below as a reminder to support the films and filmmakers you love so they get to make more of them and continue to explore the cinematic universes that become indelible parts of popular culture now and in the future.

    A Wrinkle in Time

    Domestic Gross: $100,478,608

    Worldwide Gross: $132,675,864

    Action Point

    Domestic/ Worldwide Gross: $5,059,608

    Early Man

    Domestic Gross: $8,267,544

    Worldwide Gross: $54,622,814

    First Man

    Domestic Gross: $44,790,010

    Worldwide Gross: $100,490,010

    The Girl in the Spider’s Web

    Domestic Gross: $14,777,868

    Worldwide Gross: $33,891,747

    The Happytime Murders

    Domestic Gross: $20,706,452

    Worldwide Gross: $27,506,452

    Life Itself

    Domestic Gross: $4,102,648

    Worldwide Gross: $5,634,912

    Disney

    The Nutcracker and the Four Realms

    Domestic Gross: $52,909,258

    Worldwide Gross: $140,357,413

    Robin Hood

    Domestic Gross: $28,052,736

    Worldwide Gross: $65,789,193

    Solo: A Star Wars Story

    Domestic Gross: $213,767,512

    Worldwide Gross: $392,924,807