Four years ago, John McCain named Sarah Palin, a self-proclaimed “hockey mom” as his Republican running mate and upended the 2008 election. He was looking for a game-changer to help him compete against the Democratic candidate Barack Obama. Now, the story of that move, and the blow-back from it all is a new HBO film, Game Change, from director Jay Roach who also helmed the HBO film about the tied 2000 election, Recount. […]
In the genre of 3D outer space shoot-’em-ups, there are two ways to go: Either you’ve got your humans ruthlessly exploiting oddly shaped locals on some distant planet, or vice versa. John Carter chooses the less common scenario, an Earthling being used and abused by aliens for their own purposes, while the defending champion Avatar presents a classic story of corporate greed morphing into cultural affinity. […]
There’s just something about ragtag teams of extended families trying to get by after an apocalypse. It feels like a particularly American fantasy — that when the chips are down, we’ll all put aside our petty differences, realize what’s truly important and come together to kick some ass, whether it be Nazi or Commie or even alien or zombie. The point is that our melting pot really doesn’t get cooking until the heat is applied and the burner’s on high.
These two series are flagship action pieces for their respective networks — The Walking Dead came first on AMC, followed within a year by Falling Skies on TNT. The former has its second season finale this Sunday and the latter comes back this summer for its sophomore year. Both are in their prime when it comes to the life of any TV series — enough of a run to fix some early mistakes but not so much as to render the week-to-week predictable. […]
But then again, maybe there’s another way to view The Monkees phenomenon — as a clever, self-referential parody that may have been as much of a road map to “Spinal Tap” and Sascha Baron Cohen as “A Hard Day’s Night” was to The Monkees. After all, it wasn’t just a show about a rock band. It was a show about a rock band trying to make it as a rock band. If you look closely enough, you can see little, veiled digs at the music industry’s shallowness, the glam world of Hollywood, and the hypocrisy of society — all artfully buried in the silly, comedic plots. […]
Our “Dark Skies” has established itself in the minds of a significant number of science fiction fans as a gripping piece of conspiracy drama set in the world of UFOs and abductions. It anchored NBC’s Saturday night “Thrillogy” concept in the 1996 season premiere and starred Eric Close (“Nashville”) and the late film character actor J.T. Walsh (“Sling Bladeâ€). Its main title design won the Emmy award and its pilot screenplay received a Writers Guild nomination. The Syfy Channel aired the entire series multiple times. Since 2010 there’s been a Facebook page where thousands of fans from many different countries push Sony for a TV revival. […]
My generation has been whining for years about our childhoods being collectively over, in light of the end of the Harry Potter series, the death of the creators of The Berenstain Bears, and countless other life-passages coming to a close. It’s good to know, with the theatrical release this weekend of Dr. Seuss’ The Lorax, that something important from our childhoods—and previous generations of childhoods—has survived and is still going strong. Though the good doctor himself, Theodor Geisel, has passed on, his legacy is still alive, well, and ready to be tested in Smackville.
If you want to get technical here, The Lorax should be the reigning champion, because his original movie debuted in 1972. However, he then went into a long hibernation, vacating his title. Now, the one who speaks for the trees has made a comeback, but times have changed. In the realm of computer-generated Seuss, the reigning king is Horton Hears A Who. Horton meant what he said and said what he meant, so when he says he’s coming for the guardian of the forest, The Once-ler chopping down trees for thneeds should be the last of The Lorax’s worries. […]
Initially, fans seem to be anxiously anticipating every frame of The Dark Knight Rises while lamenting the need for such a fast re-boot of The Amazing Spider-Man. But with every new trailer tease for Spidey it seems less-and-less like the Sam Raimi version, no matter how well-regarded, from 2002. Andrew Garfield, we think, will eventually be seen as a more faithful version of Peter Parker than Tobey Maguire ever was and that may make a big difference.
It’s probably a good bet that both films are going to be seen by almost everyone eventually but it may turn out that The Dark Knight Rises will be the one that gets the most “must-see-now” box office. […]
What can one say about such a non-event as the 2012 Oscars? Perhaps not quite that it was “The Most Boring Oscars Ever!!!!,†as Nikki Finke is apparently obligated to say about every Oscarcast. But […]
Because we are diligent culture-watchers operating here at The Smack, we come to this day well-prepared. We’ve had each of the nominated “Best Picture†films in the Smack ring already. Not all of the films below even won their Smacks, but we’re not telling which ones. 😉
This offers us the chance, here in this single post, to create a gateway for you to lots of fresh writing, keen observation and (of course) a general lack of respect for authority, cinematic or otherwise. It gives me a chance to brag about the talent of Art Tiersky, Eric Volkman, Nicole Marchesani, Mark Sanchez, Rebecca Coffindaffer and Ben Silverio; their work is all available below. The really great artwork below and above is all from Lynda Karr. […]
The need for a Smackdown between writer/director Alexander Payne’s earlier effort About Schimidt and his Oscar nominated The Descendants is so obvious that we just can’t let the final days before the Academy Awards go by without […]
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