An adaptation of the 1957 musical, West Side Story explores forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.
Steven Spielberg’s E.T. The Extra-Terrestrial envelops you in the way that his Close Encounters of the Third Kind did. It’s a dream of a movie—a bliss-out.
I didn’t expect (or want) Twilight Zone—The Movie to be Borgesian, but I did rather hope that John Landis, Steven Spielberg, Joe Dante, and George Miller—the four young directors who are paying homage to the TV series—would tease us with more artful macabre games than the ones of the old shows.
Empire of the Sun begins majestically and stays strong for perhaps forty-five minutes. It’s so gorgeously big you want to laugh in pleasure. Steven Spielberg takes over Shanghai and makes it his city. And then, first in brief patches and then in longer ones, his directing goes terribly wrong.
Fairy tales can come true. Spielberg the historian is in remission; Steven the regressive has returned, with a vengeance. An occasionally spectacular, fascinatingly schizoid, frequently ridiculous, and never less than heartfelt mishmash of Pinocchio and Oedipus, Stanley Kubrick and Creation of the Humanoids, Spielberg’s A.I. Artificial Intelligence is less a movie than a seething psychological bonanza.
Tim Kreider, who also wrote an incisive article on Eyes Wide Shut (“Introducing Sociology”), here takes a brilliant stab at AI in a – rarely mentioned – piece that was originally published in 2002 in Film Quarterly
The movies that split people down the middle, put in the Empire dock… Simon Ingram (Prosecution) and Kat Brown (Defence) on Steven Speilberg’s “A. I.: Artificial Intelligence”
by Pauline Kael The great thing about a tall tale on the screen is that you can be shown the preposterous and the implausible. In
Close Encounters of the Third Kind is the most innocent of all technological-marvel movies, and one of the most satisfying. This film has retained some of the wonder and bafflement we feel when we first go into a planetarium: we ooh and aah at the vastness, and at the beauty of the mystery. The film doesn’t overawe us, though, because it has a child’s playfulness and love of surprises.
If you’re among the millions of people who have read the book, you probably expect the actors to be more important than they turn out to be. The movie is amorphous; it’s a pastoral about the triumph of the human spirit, and it blurs on you.
Steven Spielberg parla del suo ultimo film ‘Schindler’s List’ e del suo rapporto con l’ebraismo
In this review of Raiders of the Lost Ark, Tom Milne dismisses Spielberg’s classic as dross. In a scathing review he objects to the film’s many flaws, including its ‘simple-mindedness’ and its reliance on ‘limp clichés’.
This mediocre movie seems destined to be a tidal wave of a hit. Spielberg, who was perhaps the greatest of all pure, escapist movie directors, is being acclaimed for turning into a spiritual simp.
Whipped by Pauline Kael The marketing executives are the new high priests of the movie business. It’s natural. They’re handling important sums of money. And
“A.I.” delinea l’immagine di un mondo (futuro?) in cui “nascere” robot aiuta forse a capire, ma non a sconfiggere il destino di solitudine e silenzio che incombe sulla specie umana