About Stephen Hunter: Stephen Hunter is an American novelist, essayist, and Pulitzer Prize-winning film critic.
Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but no...
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.
Within an ensemble, like in sports, if you do your little job, it makes everybody look good.
I never feel so utterly fraudulent as when I review a movie whose charms impress all in the world and I simply do not get it. The other variant is that I love something the world disdains. This has had severe career consequences: I am still famous - ...
The prospects for a coherent, hilarious and consistent American comedy seem to lessen every year, as the poor waterlogged, gassy corpse called 'Evan Almighty' proved when it floated ashore recently. So there's a temptation to think too highly of Robi...
Having a better and more productive life than my monster father has been my most significant accomplishment.
Since I'm a story-oriented critic, sometimes it's difficult to discuss issues without defining them. At the same time, I try not to give away anything that hasn't been given away in first half, in TV commercials, or that isn't obvious from the set-up...
'New' movies are almost always hipper, faster, they mix genres aggressively, they smother their genre origins in new form, there are fewer of them, and they tend to cost a lot more money because you usually make more money on the megahit than you do ...
Now, I am about to be nailed as the man who disliked 'Howl's Moving Castle.' Lord, give me strength! Also, IT, please disconnect the e-mail thing.
For me, as an actor, just to keep acting and to keep being able to work and to do different roles and challenging roles, that's something I'd love to do.
Among our many crimes as an imperialistic exploiter of other nations' cultures, stealing their movies ranks lower than selling them cigarettes but higher than killing their game. If you've seen big stupid American versions of France's 'Three Men and ...
By the '50s and '60s, war movies had become big and impersonal. They almost never bothered to characterize the Japanese enemy as particularly evil; in fact, they never bothered to characterize him at all.
I suppose I was formed by too many movies and too much television. At some point I absorbed the dramatic formula.
By my count, of the more than 600 English-language World War II movies made since 1940, only four have even acknowledged the humanity of the soldiers of Nippon. There may be a few I've missed, but not many.
