After a long and troubled production, Warner Bros.' "Where the Wild Things Are" found its supper waiting, and it was hot to the tune of $32.5 million, according to early estimates by Hollywood.com Box Office.
In the 40 years since Stephen Frears fell into filmmaking -- "it wasn't my masterplan" -- the twice Oscar-nominated veteran director has defied genre to direct a clutch of movies that inspire a special kind of devotion from audiences.
After the exceptionally hard-hitting "No Country for Old Men," the Coen brothers have flipped back to their default mode -- screwball farce -- in this disappointing return to the indifferent form that has plagued them over the past 10 years.
History is repeating itself. More than 50 years ago, Hollywood embraced big-screen formats (CinemaScope, VistaVision) and 3-D to protect the movie business from television. Now, with the box office under threat from at-home viewing, industry watchers have noted spectacular returns for features released on the large-screen IMAX circuit.
Insurance investigators are a dime a dozen in the movies, but you can count the number of heroic IRS agents on the fingers of one hand. There's Tom Hanks in "Catch Me If You Can," Kevin Costner in "The Untouchables"....
What's the key to the early-19th-century mystery of the Bell family of Red River, Tennessee, so traumatized by a ghost (or something) that one family member died? "An American Haunting" suggests an answer, not to be spilled here except to say that men are E-V-I-L and women are victims. (Ooh, that old truism.)
Somehow, Charlie Kaufman has picked up this reputation as the Thomas Pynchon of screenwriters: a reclusive man who spins loopy, cerebral tales of fame, love and identity, such as "Being John Malkovich," "Adaptation" and last spring's "Eternal Sunshine of the Spotless Mind."