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2 days ago | 
collider.com | Chris McPherson |TanChun Watkins |Jeremy Urquhart |Collier Jennings
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5 days ago | 
collider.com | Jeremy Urquhart
Throughout cinema history, plenty of filmmakers have had notably prolific years. Take a look at Steven Spielberg, for example, who had Jurassic Park and Schindler’s List both come out in the same year. Now, that doesn’t mean they were both made at the same time, but there can’t have been that long between production on one and Spielberg working on the other, and he did something similar in the year 1997, which saw the release of Amistad and The Lost World: Jurassic Park.
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6 days ago | 
collider.com | Jeremy Urquhart
Throughout cinematic history, there have been too many iconic science fiction movies to count, really. Hell, you can go back 100 years, to the silent era, and point right at Metropolis. That one came out in 1927, and parts of it are still dazzling, on a technical front. The story is still engaging, and what it has to say about society – and the way resources are divided up – remains regrettably relevant to this day.
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6 days ago | 
collider.com | Jeremy Urquhart
As an actor, George C. Scott was a lot of things, but subtle was not one of those things. He chewed scenery arguably before it was cool, or maybe right around the start of it being cool. His first big roles do pre-date those given by the likes of Jack Nicholson, Al Pacino, and Daniel Day-Lewis, so… you know what? Yeah. George C. Scott was one of the OG scenery devourers. You can’t spell his name without an “O” and a “G,” too, so do with that what you will.
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6 days ago | 
collider.com | Jeremy Urquhart
Endings are obviously important, when it comes to making a movie, since you want to have the audience exiting whatever they’ve just watched on a high. If you're making a blockbuster movie (say, something with a title that begins with the words “Star” and “Wars”), you're probably going to want to go big with some kind of action-packed climax… or maybe even more than one; like, a single battle being fought on multiple fronts.
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6 days ago | 
collider.com | Collier Jennings |Jeremy Urquhart |Anja Djuricic |Jessica Nobleza
Enter the Dragon Release Date August 19, 1973 Runtime 102 Minutes Director Robert Clouse
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6 days ago | 
collider.com | Jeremy Urquhart
Few people will ever complain about Stephen King’s ability to start a story. As a writer, he’s uniquely great at having his narratives hit the ground running. Often, a blurb, first chapter, or even just an opening sentence is enough to be sufficiently intriguing. You know, The Shining is a psychological and supernatural horror story about one man falling into madness while looking after a hotel, and 11.22.63 is about using time travel to stop the John F. Kennedy assassination. Stuff like that.
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1 week ago | 
collider.com | Jeremy Urquhart
Camp is one of those things that’s a little hard to define, but you probably know it when you see it. If something is overly theatrical, silly, or goofy in a certain way, then it might well be camp. Camp can be unintentional (as might have been the case with Mommie Dearest), it can be deliberate (like with The Rocky Horror Picture Show), or it might even inspire debate over intentionality (see Showgirls).
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1 week ago | 
collider.com | Jeremy Urquhart
It’s hard to single out one decade as being the best in the history of monster movies, but it’s probably not the 1980s. The 1990s had Jurassic Park, the 1970s had Jaws, the 1950s had the original Godzilla, and the 1930s had King Kong. The 1980s might not boast a monster movie quite as good as any of those, but if you broaden the definition of “monster movie” a little, some more contenders do emerge.
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1 week ago | 
collider.com | Jeremy Urquhart
If you're not in the mood for something stressful, the good news is that plenty of television has your back. Not always, but a good deal of the time, sitcoms are intended to be comforting or fun (see Parks and Recreation, most of The Office, and Ted Lasso), and then even dramedies tend to be stressful or overwhelming only on occasion (see the likes of Scrubs and M*A*S*H).
