Adding both cachet and pressure, “Clarice” (Thursdays, CBS) has the weight of “The Silence of the Lambs” (1991) behind it as it chronicles Special Agent Starling’s 10-year period between the movie versions of “Lambs” and “Hannibal” (2001). If you watch the first episode, “The Silence is Over,” with a checklist in hand, it checks all the boxes, proving that creators Alex Kurtzman (recent “Star Trek” projects) and Jenny Lumet know those films and author Thomas Harris’ source material.
The origin story of Zorro (Antonio Banderas) is told in “The Mask of Zorro” (1998), and in sequel “The Legend of Zorro” (2005) wife Elena (Catherine Zeta-Jones) wants him to hang up his sword, mask and hat for good. It seems like there should’ve been a series of films in between, but there weren’t. As Bruce at Hero Movie Podcast correctly points out, seven years is an awkward gap between original and sequel – you should ideally strike while the iron is hot (a couple years later) or wait till it heats up again (about 20 years later).
May is the month of “M:I,” as we look back at the six “Mission: Impossible” films from May 2-10. Next up is the third entry, “Mission: Impossible III” (2006):
Similar to “Spider-Man 3” (2007), so much is going on in “The Amazing Spider-Man 2” (2014) that – even if all that stuff is pretty good on its own – a viewer can’t appreciate any of it as much as he should. In this sequel that probably was not intended to be the final statement in the “Amazing” series but ended up that way when Spidey got rebooted over to the Marvel Cinematic Universe for “Captain America: Civil War” (2016), director Marc Webb and a team of four writers cram in a ton of ideas.
In honor of “Mission: Impossible — Fallout” hitting home rental this week, I thought I’d do a ranking of all six “M:I” movies in which Tom Cruise plays Agent Ethan Hunt. As an action movie junkie, my views may differ from the typical critical rankings. Cruise does almost all of his own stunts, and they are just as much the star of the show as he is, so I’ve included a nod to the best action sequence in each film.
As a franchise, “Star Trek” has boldly gone many places, and not all of them have been good.
While the original series is legendary, and “Next Generation” improves on it, things started to fall apart with “Deep Space Nine,” which cribbed so much from “Babylon 5” that it felt like a cheat calling it “Trek” at all. “Voyager” upped the camp level and became the goofy uncle of the franchise. It was ridiculous, over the top, fun, but never very good. The less said about “Enterprise,” the better.
Like director J.J. Abrams’ 2009 “Star Trek” film, “Star Trek Into Darkness” gets all the Trek-isms correct. Everyone is still spot-on as alternate-universe versions of the iconic characters, Scottie and Chekov have thick accents, there are winks about red shirts, Bones says a variation on “Dammit, Jim, I’m a doctor …” and so forth.
To me, one of the most exciting things about the end of “Fringe” is that I can now look forward to rewatching the show on DVD someday. For five seasons, I watched every episode as it aired on Fox, but I’ve found that people who watched it in large chunks on DVD embraced it more than me. Ironically, like a lot of complex TV shows (“Lost” being another prime example), “Fringe” didn’t play as well with the weeklong gaps.
We’re in a curious situation right now where 94 percent of the country supports pro-war presidential candidates yet other polls show that the majority of people are against war (although most of Congress is pro-war). Of course, war is a complicated issue, and I don’t pretend to understand all of it (although I certainly respect soldiers’ views, which tend to lean anti-war, in my experience). But because of the mainstream media’s focus on the two major parties, the raw fact of our involvement in the Middle East is generally not questioned — rather, the questions are about the details of how to conduct the wars.