David O. Russell's American Hustle is little bit Martin Scorsese, a little bit Preston Sturges.
How startling to see the speed with which the film business can respond to audience taste. Within hours of the massacre at a midnight screening of The Dark Knight Rises, (far quicker than the removal of the Joe Paterno statue), Warner Brothers were in action. Premieres in Paris and Tokyo were cancelled. Most of the players in the movie—writer-director Christopher Nolan, Christian Bale, Gary Oldman, and Anne Hathaway—issued statements of sorrow.
Toward the end of Terminator: Salvation, one character explains, "What is it that makes us human? It's not something you can program. ... It's the strength of the human heart, the difference between us and machines." As philosophical rumination it's not much, but as self-critique, it's spot on. Terminator: Salvation is a sharp-looking film with a few impressive action sequences, but one almost completely devoid of emotional resonance or human connection.
‘I’m Not There’ ignores the cost of Bob Dylan’s transformations
How can you pack a life as multifarious and contradictory as Dylan's into a biopic without blasting the whole glib genre to smithereens? In I'm Not There, the acerbic and visually fastidious Todd Haynes attempts a solution: dispatch six actors—among them, Heath Ledger, Christian Bale, a black child, Cate Blanchett, and a close friend of his Holiness the Dalai Lama (ahem, Richard Gere)—to capture the life of pop culture's most slippery genius. But the film misses a crucial twist in the story.