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leonardmaltin
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Leonard Maltin

movie review: Salt

  • By Leonard Maltin
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  • July 23, 2010 4:00 AM
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  • 7 Comments
Salt moves like a bullet, and almost never stops to take a breath; as a result, neither do we. I can’t think of a recent film that’s maintained such a breakneck pace or made me so unaware of time flying by. This is beneficial, because the story doesn’t always make sense…but when a film is this energetic and entertaining, it would be a shame to spoil the fun by demanding too much of it.

movie review: Life During Wartime

  • By Leonard Maltin
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  • July 23, 2010 3:59 AM
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  • 1 Comment
I vividly recall the year Todd Solondz’s Happiness debuted at the Telluride Film Festival. His deadpan treatment of such sensitive subjects as pederasty and masturbation polarized the assembled moviegoers; some walked out in disgust, others stayed and were full of praise. Only a filmmaker as iconoclastic as Solondz would create a sequel twelve years later—and recast all the leading characters. Many of his films in that intervening period have been disappointing and downright strange, but Life During Wartime is exceptional…just as good as Happiness, and possibly even better.

Let’s Go To The Movies!

  • By Leonard Maltin
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  • July 20, 2010 6:00 AM
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  • 0 Comments
On July 4, a slow news day, The New York Times ran an interesting feature article about a number of small towns that are operating their own first-run movie theaters—like the Roxy in Landon, North Dakota. They don’t add much to the weekend grosses you read about on Monday mornings, but they are keeping the tradition of moviegoing alive in close-knit communities from coast to coast: www.nytimes.com (You may have to be registered with The New York Times to read this piece.)
More: Journal

secret's out: Taking A Closer Look At Kisses

  • By Leonard Maltin
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  • July 19, 2010 8:11 AM
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  • 1 Comment
Kisses | Movie TrailersDirector Lance Daley's instincts are right on in this coming-of-age film find from Ireland.

book and dvd reviews: It's A Noir, Noir, Noir, Noir World

  • By Leonard Maltin
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  • July 16, 2010 4:00 AM
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  • 3 Comments
The term “film noir” didn’t exist in the 1940s and early 1950s. The late Larry Gelbart, who wrote the noir-inspired stage musical City of Angels, once told me that back then “film” was something you got if you didn’t brush your teeth. People went to “the movies.” But ever since the term was taken up by American film buffs and scholars in the 1970s it has created a special allure for those dark, hard-boiled melodramas that studios ground out so effortlessly in the post-War era. What’s more, since today’s audiences have no trouble digesting cynicism, these films seem positively modern as opposed to the apple-pie wholesomeness of other Hollywood product from the period.

film review: Inception

  • By Leonard Maltin
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  • July 15, 2010 4:00 AM
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  • 32 Comments
Everyone is different. I don’t like mazes, puzzles, Rubik’s Cube, or most of Christopher Nolan’s films. He delights in creating cinematic puzzles but I always sense the wheels turning, instead of getting caught up in the action. Obviously he has the imagination to devise ingenious premises and the skill to bring them to life, but halfway through Inception, which runs close to two-and-a-half hours, my mind started to wander. Instead of being pulled into his world I felt myself drifting away from it.

film review: The Sorcerer's Apprentice

  • By Leonard Maltin
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  • July 14, 2010 4:00 AM
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  • 0 Comments
If you know that this film comes from the team that gave you National Treasure, you have a pretty good idea of what to expect: a larger-than-life action yarn with special effects and a sense of humor. It isn’t my favorite kind of entertainment, but there’s a good reason Jerry Bruckheimer is successful: he (mostly) makes movies people pay money to see. Director Jon Turteltaub and a team of writers are clearly in sync with the producer’s m.o.

dvd review: Buster Keaton: Lost And Found

  • By Leonard Maltin
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  • July 13, 2010 4:00 AM
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  • 3 Comments
The folks at Kino International deserve a medal for the exceptional job they’ve done bringing Buster Keaton’s films to DVD. Last year they unveiled a beautiful copy of The General on Blu-Ray, the first silent feature to appear in that format. Now they’ve unearthed an alternate version of Steamboat Bill Jr. and paired it with the print we’re familiar with. As silent-film aficionados know, most films were shot with dual cameras, side by side, to provide a second negative for overseas use. Because the finished prints were edited separately, there were often variations in the timing of shots. At this late date it’s impossible to know for certain which version was which, but Kino’s new two-disc DVD enables Keaton scholars to examine them both. (For those who are less compulsive, a bonus feature offers a handful of scenes in split-screen so you can see the admittedly slight differences between the two. The pictorial quality is quite good in both cases.) Other features include a visual essay on the making of the film, a photo library, and—

secret's out: David Hockney and A Bigger Picture

  • By Leonard Maltin
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  • July 12, 2010 6:31 AM
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  • 0 Comments
Leonard Maltin's Secret's Out | Leonard Maltin | Movie TrailersDiscover the David Hockney—Laurel and Hardy Connection.

secret's out: Delving Deeper Into the Music of Svend Asmussen

  • By Leonard Maltin
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  • July 12, 2010 5:13 AM
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  • 0 Comments
Leonard Maltin's Secret's Out | Leonard Maltin | Movie TrailersWait till you here this man play!

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