Sugar, spice and everything nice — and an accidental dash of “Chemical X.” These were the ingredients needed to create the beloved 1990s cartoon “The Powerpuff Girls.” Now, more than 15 years after its debut, the Cartoon Network has turned back to that formula for a new “Powerpuff Girls.”
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The songs collectively known as the Great American Songbook apparently are like those famous potato chips, in that singers who start sampling them quickly discover you can’t stop at just one.
Two years ago, “Neighbors” writers Andrew Jay Cohen and Brendan O’Brien, along with director Nicholas Stoller, reinvented the classic college party movie by pitting the frat guys against the young parents next door. It was a raunchy but sweet rumination on getting older and growing out of party mode, a refreshing take on the college movie formula. With “Neighbors 2: Sorority Rising,” they’ve flipped the script, creating a feminist party classic that’s completely current and doesn’t skimp on any of the wild humor. It’s also even better than its predecessor.
How do you like your Teddy Roosevelt — sliced and diced, or the whole megillah? If big books about America’s larger-than-life 26th president are your thing, there are plenty of door-stopping bios to suit your fancy. But Roosevelt’s multifarious life — he was by turns a politician, writer, hunter, soldier, explorer and amateur scientist — is suitable for a thematic close-up, as displayed in the books under review here.
The upcoming “American Masters” portrait of Janis Joplin, titled “Janis: Little Girl Blue” was produced by Amy Berg, an Oscar nominee who interviews members of Janis Joplin’s first band, Big Brother and the Holding Company; Kris Kristofferson, whose hit “Me and Bobby McGee” was spectacularly covered by Joplin; record mogul Clive Davis; and famed filmmaker D.A. Pennebaker, whose “Monterey Pop” from 1968 established Joplin.
If you watched the trailer for “Keanu” starring Jordan Peele and Keegan Michael Key of Comedy Central’s beloved series “Key &Peele” _ and wondered “is this a real movie?” you’re not alone. In fact, it’s one of the auto-searches on Google. It’s understandable, as most know “Key &Peele” as a veritable factory of genre-bending viral sketches that engage with the tropes of Hollywood. But yes, “Keanu” is a real movie, a real funny one at that.
Netflix announced Wednesday a return to Camp Firewood and a new original series based on the 2001 film “Wet Hot American Summer.”
Call it the Decade Movie Pact; ever since first collaborating on “Pretty Woman” in 1990, Julia Roberts and Garry Marshall have made a movie together every 10 years.
Blanche DuBois in “A Streetcar Named Desire” said it first, and best: “I don’t want realism. I want magic!” Maybe it’s the Blanche in me who prefers magic to realism in certain types of fairy tales, but I have a hard time loving any movie dominated by ultra-crisp photorealistic animation designed to look real, not animated. That sort of realism often looks and feel misguided, slightly clinical. And it’s a substantial caveat when it comes to Disney’s new live-(ish) action version of “The Jungle Book.”
In a victory for Katy Perry, a Los Angeles judge announced Wednesday that she intends to block an effort by nuns to sell a convent in the city’s Los Feliz neighborhood to a competing buyer.
Ken Burns has added another face to the metaphorical Mt. Rushmore of a career dedicated to chronicling great events and people of American history: Jackie Robinson, subject of a four-hour documentary airing Monday and Tuesday over PBS.
Everyone’s talking about it. Whether it be a Broadway geek, a diehard hip-hop fan or just someone who listens to good music of any genre, they all have one thing in common: an obsession with “Hamilton,” a hip-hop musical about the forgotten founding father on the $10 bill. Lin-Manuel Miranda’s masterpiece is so perfect that one song took him an entire year to write. So what’s the big deal? What makes this musical so different from all the other ones?
Sunday’s ACM Awards show, broadcast live on CBS from the MGM Grand Garden Arena in Las Vegas, was a remarkably low-energy affair, especially in light of the ACM’s repeated insistence that its flagship event is “country music’s party of the year.”
Back in 2002, “My Big Fat Greek Wedding” became a bona fide cultural phenomenon, a romantic comedy that mined the cultural specificities of the Greek heritage of unknown writer and star Nia Vardalos. The film picked up an Oscar nomination for Vardalos’ original screenplay, everyone began adding “My Big Fat” in front of various nouns, and we all learned a thing or two about the versatility of Windex. Fourteen years later, Vardalos and gang are back again for another wedding, but this time, it’s to drastically diminished returns.