Screen

At the end of the first Iron Man, when Nick Fury (Samuel L. Jackson) popped up to mention “The Avengers Initiative,” it launched what...

Although traditionally necessary for filmmaking, the original Iron Man was rumored not to have had much of a real script, just an outline of key moments and the note “fill in gaps with Robert Downey Jr.’s swag.” Much to the chagrin of the Writers Guild of America, it...

The alcoholic son of an alcoholic, sales manager Nick Porter was born in a Raymond Carver short story called “Why Don’t You Dance?” published in the 1981 Carver collection What We Talk About When We Talk About Love. The story, which takes place at a yard sale among...

Don’t get him wrong. Pablo Kjolseth loves the aesthetic qualities of celluloid. But as the director of the International Film Series (IFS), he is keenly aware that the future of moving pictures is digital. 2013 will mark a key moment in the history of cinema; it is ...

Chloe is a conundrum. Envisioned as a psychosexual thriller about a woman scorned, director Atom Egoyan’s latest puzzle is instead little more than a messy affair with mood lighting, sexy lingerie, heavy breathing and swelling, um, music. Everyone here is dripping ...

Hyperbole is great for journalism, terrible for art. Granted, the above headline might draw attention, clicks and (hopefully) puts asses in the seats, but...

It’s that time of year again. The roads are packed, the lines at the sandwich shops quadruple, electrical outlets at Starbucks become a scarce commodity and Boulder is flooded with 30,000 hungry young minds ready to change the world. School is back in session, and so...

For its big screen debut, start-up studio CBS Films...

Good science fiction makes you ask hard questions. Things like “What is the true core of human nature?” and “Do they really expect us...

A certain segment of the population has always believed Nixon’s War on Drugs to be a tragic waste of time, money and human life. A damning statistic, familiar to those with even a minor interest in the drug boondoggle, comes early in The House I Live In: “Since 1971...

It always begins with light. Be it an ancient myth or a modern movie, light carves away the darkness and gives form and shape...

"And then the big Native American smothers him to death with a pillow after he sees that he’s been lobotomized! Wait, Mr. Producer! Where are you going...