Reader: Most Colorado Movies Are Duds, but Not Sleeper!
Denver’s back in the movies. Although neither Voyeur nor Our Souls at Night made our list of the “The Ten Best Movies Filmed in Colorado,” neither did a number of other reader favorites.
Denver’s back in the movies. Although neither Voyeur nor Our Souls at Night made our list of the “The Ten Best Movies Filmed in Colorado,” neither did a number of other reader favorites.
Over the course of the film, we go from seeing the elder Getty as a figure of great power to one of no power at all, and that is perhaps the most fascinating part of the movie …
Guadagnino adeptly captures not just physicality of a burning love but also the emotional and intellectual components, and the film is all the more salient for that careful, realistic interpretation
The new one is bigger and dumber than the previous, a feat considering the relentless clatter of the 1995 iteration …
The Pitch Perfect films have offered an increasingly unpalatable blend of pop-song empowerment, rah-rah women’s friendship and broad gross-out comedy
Hugh Jackman is charming as ever, and two dance scenes are mildly inventive and well-executed, yet Jackman’s goodwill and a splash of inspired choreography are not enough to earn the “greatest” in the title
Colorado’s natural beauty has lured filmmakers since the birth of cinema, and in recent years, the pace of production in these parts has picked up after something of a dry period. Here are the ten best movies that were filmed in Colorado.
“If I knew what I know now, I wouldn’t have exposed myself. It’s been more trouble than it’s worth,” says Voyeur subject Gerald Foos.
Any thinking person watching Downsizing is 10 steps ahead of Damon’s blinkered schlub, and watching him piece together the bare facts about how this future America works — and how our America works today — makes for a frustrating sit
Chastain seems at times to be both the lead and her own supporting actor in this story, as she oscillates between traditionally feminine and masculine modes of behavior
Morris’ film dramatizes Olson’s last days between interviews with Olson’s son Eric and journalists and lawyers who have taken the case as a cause
Some of them gave me hope for America, others invited me into foreign-to-me cultures and one even made me delightfully nauseous
The first few months of the year are notorious for being a period of drought at the movies, but the January–March 2018 release calendar offers a surprising deluge of highly anticipated films
Star Wars: The Last Jedi hits theaters Thursday, December 14. While the frenzy around the release may not be quite what it was when the series first opened in Denver in the ’70s or ’80s or even early 2000s, there is no doubt that fans of the Force will be celebrating this week, in droves.
Writer-director Rian Johnson has certainly made the busiest Star Wars film of them all, but he keeps it from becoming a slog by infusing it with humor, verve and visual charm
First, these are my favorite movies of the year, not a claim to rank the definitive best, so don’t write to tell me that your favorite should have made it
I won’t waste your time attempting to sum up the totality of this year’s output, because I can’t, and any critic who claims to have seen enough of the more than 500 scripted series that aired in 2017 to do so is lying
Wright’s film is fleet but not especially thoughtful, wholly convincing in its production design, and in one crucial sense something rare: Here’s a war movie about rhetoric rather than battle scenes
The Other Side of Hope is a spiritual sequel to Le Havre, arriving six years later; both are sympathetic pictures of refugees without being overtly weepy or sentimental
When same-sex marriage became legal in Finland this past March, the government celebrated by releasing an official emoji — a leather-clad man with a drooping mustache and a police-style cap emblazoned with the word “Tom.” No explanation was necessary, for “Tom” was clearly a nod to Tom of Finland —…
As Ginny and her life unravel, Allen’s sympathy for her seems to dry up, and she becomes something like the villain of the piece
Vero Tshanda Beya, the Congolese singer turned actress making her screen debut in Alain Gomis’s tough-minded life-in-Kinshasa character study Felicite, can pierce your heart with her croon, rouse your soul with her shout, move you with her mien of cussed indomitability, cut you with her look of wary, weary appraisal…