A movie like 'Transcendence' may be pertinent in its political reverberations of all computer data held in a cloud and monitored by the NSA, but it also rails against the tools its makers so artfully employ.
Nixon's shifty eyes and perpetual 5 o'clock shadow made him a natural fit for caricatured villainy.
We all recall what is or was important to us and are astonished when it slips other people's minds. Perhaps we dismiss as irrelevant matters of crucial concern to those we love. That's life as most of us experience it, and which few movies document with such understated acuity as 'Boyhood' does.
The movie truism is that stars play themselves, while actors play other people - troubled or toxic, and memorably strange. By that definition, Philip Seymour Hoffman, who disappeared into the rabbit hole of his characters' souls, was our generation's anti-star and the chameleonic film actor of his age.
In 'Blade Runner,' the here is quite enough: a vision of dark, cramped, urban squalor. This is Los Angeles in the year 2019, when most of the earth's inhabitants have colonized other planets, and only a polyglot refuse heap of humanity remains. Los Angeles is a Japanized nighttown of sleaze and silicon, fetid steam, and perpetual rain.
Almost any football play, even an off-tackle slant by a running back, offers the balletic beauty of athletic skill and the punishing drama of physical collision.
