'The Birth of a Nation' occupies a view of the South not far from Scarlett O'Hara's in 'Gone With the Wind,' and modern audiences have to wrestle with that beloved movie's romanticizing of racism. — Richard Corliss Copy Share Image
In his musicals with Garland, Rooney was the sparkplug for prodigious entrepreneurship - that era's predecessor of the garage band, but with Gershwin tunes… — Richard Corliss Copy Share Image
Hollywood was born schizophrenic. For 75 years it has been both a town and a state of mind, an industry and an art form. — Richard Corliss Copy Share Image
You know it's Oscar season when you see a slew of new movies based on true stories whose resolutions you can find in three… — Richard Corliss Copy Share Image
In 'Blade Runner,' the here is quite enough: a vision of dark, cramped, urban squalor. This is Los Angeles in the year 2019, when… — Richard Corliss Copy Share Image
Every artist undresses his subject, whether human or still life. It is his business to find essences in surfaces, and what more attractive and… — Richard Corliss Copy Share Image
'Ouija' has a steady directorial hand, some attractive young actors who taking the silliness seriously, and few admirable genre elements. It renounces the faux-found-footage… — Richard Corliss Copy Share Image
'Tammy,' the new movie starring, produced, and co-written by Melissa McCarthy, could be an artifact from some alternate universe: the creatures there resemble Earthlings… — Richard Corliss Copy Share Image
'Noah' is about a man whose mission is to obliterate Earth's past and godfather its future. Replacing the word 'God' with 'Creator' and taking… — Richard Corliss Copy Share Image
The lumpiness of 'The Good Lie's progression - from infancy to adulthood, and from ethnic horror to gentle social comedy to a heroic gift… — Richard Corliss Copy Share Image
John Steinbeck's 'The Grapes of Wrath' also speaks urgently to today's concerns: the cratered trail of dreams for Mexican immigrants seeking a promised land in the Western [United States]; the perfidy of banks in foreclosing on poor people's homes; and the insurgent urge of the book's protagonist, Tom Joad, to speak truth to police power. 'Wherever there's a cop beatin'… — Richard Corliss Copy Share
'TIME's spell-check always admonishes me whenever I compose a sentence in the passive voice, a warning that is often ignored by me. — Richard Corliss Copy Share Image
In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century. — Richard Corliss Copy Share
