Is Ray Bradbury's classic a horror film? Well, not exactly. Is it a family film? Nah, it has too many genuine scares for the kiddies. Is it perfect for Halloween? Well, Mr. Dark is delightfully wicked...
Ernest Hemingway compared Paris to a moveable feast because no matter what time it is, Paris is always the magnificent city of lights. Woody Allen expands upon Hemingway's testimony in the magical Midnight in Paris.
While Atanes's film comes across as somber and unintentionally funny, and the Capaldi film is bizarre and outright amusing. Both do a brilliant job of capturing the surreal, dark mood that The Metamorphosis is cocooned in.
Haruki Murakami's Norwegian Wood has been referred to as the "Japanese Catcher in the Rye", but J. D. Salinger said that his book was not actable and he would never sell the rights to Hollywood. Maybe Murakami should have listened to Salinger.
What makes Close Encounters of the Third Kind stand out to this day is that it isn’t the usual UFO tale of “us vs them”, like Spielberg’s later remake of War of the Worlds; rather, it's very much a story about Earthlings.
As is often the case with classics, what could have been a brilliantly updated film adaptation of The Scarlet Letter was consumed by the Hollywood machine that instead spits out a shallow and action-packed romp with a glossed-over ending.
The author's 'heaven' is a concrete and unexpected place with"lumbering women throwing shot put and javelin"; whereas the filmmaker's interpretation changes 'heaven' to something like a garish, 3-D Hallmark card.
Ang Lee captures the '70s on film the way Rick Moody captures the era in the book The Ice Storm. It's the midst of the sexual revolution, the Watergate scandal is erupting, and the country's social consciousness is changing.
Bella and Edward's longing for each other is what makes the series so appealing. It fully encapsulates the bliss and agony of first love or any love that would make you lie down and die for the other person.
A scene shows Ryder blissfully tying up the manuscript and putting a rose under the string. That's rather like what Armstrong and the screenwriters did to the film: tied it up neatly with a pretty flower.
The desire to escape that lives in each of us, and the consequences of acting on that desire, is what makes us care for Chris McCandless (Into the Wild), and what makes his short life such a compelling story.