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I can't decide if this movie is so spectacularly, breathtakingly dumb as to induce stupidity in anyone who watches, or so brutally brilliant that it disarms all reason. What's the difference?

A. O. Scott

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A. O. Scott
Age: 58
Born: 1966
Born: July 10
Film Critic
Journalist
Northampton
Massachusetts
Anthony Oliver Scott
Anyone
Stupidity
Reason
Dumb
Decide
Brilliant
Watches
Disarms
Difference
Spectacularly
Differences
Brutally
Movie
Induce

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Recently, I took my son to see The Haunted Mansion, which was one of the worst things (I hesitate even to call it a movie) that I have ever seen. He thought it was better than Finding Nemo and we had a fruitless argument which I'm sure made him acutely aware of the disadvantages of having a film critic for a dad.
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War of the Worlds is rated PG-13. Much of the earth's population is wiped out, leaving very little time for sex or bad language.
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A piercing satire, a poignant family drama and an investigation of the competing claims of honesty, loyalty, ambition and love.
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Pearl Harbor is strenuously respectful of contemporary sensitivities, sometimes at the cost of accuracy.
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Every art form changes, often at rates and in ways that cause discomfort to its devotees. But the arts also have a remarkable ability to withstand and absorb those changes, and to prove wrong the prophecies of their demise.
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We have reached a strange new place in marketing when tweets become full-page print ads.
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Tiny as a sparrow, fierce as an eagle, Lisbeth Salander is one of the great Scandinavian avengers of our time, an angry bird catapulting into the fortresses of power and wiping smiles off the faces of smug, predatory pigs.
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Campaign may invite a certain skepticism about democracy, but it will surely restore your faith in cinema verite.
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The camera has an uncanny ability to capture the world as it is, to seize events as they happen, and also to conjure visions of the future. But by the time the image reaches the eyes of the viewer, it belongs to the past, taking on the status of something retrieved.
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Those reliable axioms about the taste and expectations of the mass movie audience are not so much laws of nature as artifacts of corporate strategy. And the lessons derived from them conveniently serve to strengthen a status quo that increasingly marginalizes risk, originality and intelligence.
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The musical performances do more than enrich the movie they complete it.
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