- 42 (2013) vs. Remember the Titans (2000)
- Admission (2013) vs. About a Boy (2002)
- Oz the Great and Powerful (2012) vs. The NeverEnding Story (1984)
- Dark Skies (2013) vs. Dark Skies (1996)
- Oscar Wrap-Up 2013
- A Good Day to Die Hard (2013) vs. Indiana Jones and the Last Crusade (1989)
- Oscar Smack-a-thon!
- The Tiersky Top Ten, 2012
- Smackdown Smacks Down the 2013 Oscar Nominees
- Broken City (2013) vs. City Hall (1996)
- Men of Steel (Smackdown’s Superman Smashup)
- Les Miserables (2012) vs. The Fugitive (1993)
- celebrated chef julia child can cook rumali roti9 on Spider-Man Gets New Threads
- Luke Samorano on Les Miserables (2012) vs. The Fugitive (1993)
- ryan mercer writer on Men of Steel (Smackdown’s Superman Smashup)
- diane on The Walking Dead (AMC) -vs- Falling Skies (TNT)
- last Kings clothing | on Tinker Tailor Soldier Spy (2011) -vs- The Spy Who Came in From the Cold (1965)
- Sometimes it is really difficult to find a fun craft for kids of all ages. It can be particularly tough when you have a wide range of ages. Finding a project that is interesting for older kids that have more coordination and ability and yet simple enough on Abraham Lincoln: Vampire Hunter (2012) -vs- Time After Time (1979)
- instant loans online on Battleship (2012)
- instant payday loans on Hugo (2011) -vs- Pinocchio (1940)
- instant loans on Smackdown Smacks Down the 2013 Oscar Nominees
- instant loan on X-Men: First Class (2011) -vs- X-Men (2000)
Author Archives: Arthur Tiersky
Two years ago, the Oscars crossed the line from Annual Guilty Pleasure into Annual Torturous Ritual, and by the look of things last night, that’s where it’s planting its feet. The main issue I raised in this space about last … Continue reading
2012 was a year of countless blockbuster disappointments, a handful of sleeper gems, several overhyped critical darlings, some masterful documentaries and foreign films, loads of forgettable dreck, a couple of delightful surprises, and no genuine masterpieces, but a fair amount … Continue reading
Ah, the ’70s. Now that was the golden era for New York City movies, am I right? (Just nod, youngsters.) You had the likes of Martin Scorsese, Sidney Lumet and Woody Allen, all at the top of their games, cranking out classics ranging from Taxi Driver to Dog Day Afternoon to Annie Hall to Mean Streets to Serpico to Manhattan, and even to a movie named New York, New York, which actually wasn’t very good, but my point stands, which is that New York’s best cinematic days are long behind us. Woody Allen is now essentially doing a movie for every city he’s ever visited outside of New York, Scorsese basically just does whatever he feels like doing at the moment, and Lumet… is not doing much at all these days, but he has a solid excuse. Continue reading
Once upon a time, long before you were born, way back in 1994, a writer-director named Quentin Tarantino made a movie called Pulp Fiction. It was a low-budget, stylish and irreverent thriller so wildly entertaining, energetic and fresh that it became an instant cult classic, was a huge critical and box office success, won Quentin an Oscar for his script (story co-written with Roger Avary), and turned him practically overnight into the biggest celebrity director since Alfred Hitchcock.
The movie was so unconventional in so many ways — unusual length (two hours and forty minutes), non-chronological/episodic/multi-plot structure, long stretches of idle chit-chat, hairpin plot turns, extreme violence sprinkled with laughs, eccentric soundtrack selections — and Tarantino was so amply lauded and rewarded for it that he began to believe he could do no wrong, that he could be either as daring or as lazy as he felt on any given day, and we would continue to bow at his feet. The films that followed over the next two decades were… well, it depends who you ask. There are those who still worshipped at his altar, but many others didn’t quite take to much of it, grew tired of waiting for the old Tarantino to return, and viewed each new release with ever-decreasing expectations. Continue reading
Not quite satisfied with making history as the first female Oscar winner for Best Director with The Hurt Locker (2008), Kathryn Bigelow, working again with screenwriter Mark Boal, is back with Zero Dark Thirty, another topical and suspenseful Middle East adventure that’s already a serious contender for this year’s top Oscars. The new film expands far beyond the modest scope of its predecessor, taking on one of the biggest stories of recent years, the decade-long, multi-country search for 9/11 mastermind Osama bin Laden and how it eventually found closure, a mere 19 months ago (maybe you heard about that part). Continue reading
The Smackdown “Two damaged, anti-social people find each other and fall in love” is not exactly an under-utilized premise for movies. The genre is actually pretty extensive, so much so that it would not be entirely inappropriate to wonder how … Continue reading
You’ve heard about all the Kennedy/Lincoln coincidences by now. Some of them are even true. But did you know that Kennedy and Lincoln both have had movies made about pivotal moments in their presidencies? Yeah, I guess you probably did know that. The long list of movie Lincolns includes such notable stars as Henry Fonda, Walter Huston and now, in Steven Spielberg’s new film, Lincoln, Daniel Day-Lewis, while Kennedy has been assayed by, among others, Cliff Robertson, James Franciscus and Bruce Greenwood, who played our youngest President in the true-to-life political thriller, Thirteen Days.
But did you know that I just happened to watch both Lincoln and Thirteen Days in the same week? Continue reading
So let’s talk about movie movies.
First, you’ve got your movies about movies, which range from the beloved classics (Sunset Blvd., Singin’ in the Rain) to the cult oddities (Barton Fink, The Stunt Man) to the amusing trifles (Bowfinger) to the less-said-the-better (Hollywood Ending).
Then you’ve got your movies that sort of know they’re movies, i.e., meta-movies, a diverse genre that includes such intriguing experiments as Adaptation and Wes Craven’s New Nightmare.
Then there’s the movie-within-movie movies, notable entries being Kiss of the Spider Woman, The French Lieutenant’s Woman and Almodovar’s Bad Education. Continue reading
So I mean, if it were me, and I’d just gone on my first vacation to Europe and gotten targeted by the first person I met in France and subsequently kidnapped by sex slave-traders and basically had the most harrowing experience of my life, I probably wouldn’t be going back to Europe any time soon. I don’t care how bad-ass my dad is, or even that he’s played by Liam Neeson. But then, I’m not perky teenager Kim Mills, nor am I Maggie Grace, who has now co-starred as Kim Mills in two movies, despite being more than ten years the character’s senior, so what do I know? Continue reading
Let’s face facts: If “traveling back in time to change the past” movies stuck rigidly to actual logic, there would be no such movies. As far as I can tell, there’s just no getting around the paradox that if you travel back in time and change the past, you alter history in such a way that you no longer have a reason, in the new timeline you’ve created, to get in a time machine and go back and change the past. For starters.
Fortunately, the best examples of the genre wisely choose to ignore this little snag and do the next best thing: Pour their energy into making it so entertaining and zanily convoluted that it doesn’t even occur to you to mind until you’re on your way home. The last decade, in fact, has seen a wealth of intriguing time-travel flicks that do exactly that, largely thanks to the fact that time travel doesn’t always require expensive special effects and thus can be done independently; all you need is a convincing-looking time machine prop and a lot of ingenuity, and presto, you got yourself a “high concept indie,” be it the soft-spoken, cerebral Primer (2004), the ruthless Mexican mind-bender Timecrimes (2007), or the diabolically clever Triangle (2009) (which doesn’t actually involve a time machine at all, but otherwise fits the category). Continue reading