Each decade, one and sometimes a handful of films is embraced by and-or define and seem to symbolize a generation of high school and college-age youth.
In the 1950s, of course, it was "Rebel Without A Cause" (1955).
The 1960's brings "The Graduate" (1967) to mind.
In the 1970s, there was "American Graffiti" (1973), "Saturday Night Fever" (1977), "Grease" (1978) and "Animal House" (1978).
"Argo, an action-thriller that boasts impressive acting and directing, is based on a true spy story, "The Canadian Caper."
"Argo," directed by and starring Ben Affleck, tells the story about the United States Central Intelligence Agency bankrolling a fictitious Hollywood movie production to rescue Americans from Iran during the 1979 - '81 hostage crisis when Islamic student militants stormed and took over the U.S. Embassy in Tehran, Iran.
CIA agent Tony Mendez (Affleck) poses as a Canadian movie producer to scout locations for "Argo," a science-fiction movie.
Liam Neeson out-Bonds James Bond in "Taken 2."
You don't have to have seen "Taken" (2008). Here, Neeson, reprising his role a CIA spy operative Bryan Mills, must rescue his wife, Lenore (Famke Janssen), and prevent his daughter, Kim (Maggie Grace), from being taken hostage by Eastern European terrorists intent on revenging their losses depicted in the first movie. At the center of the terrorist group is a father whose son, a kidnapper, was killed by Mills.
"The Master" is one of those films that audiences and reviewers either love or hate.
Since I try not be a "hater," put me in the category of "strongly dislike" regarding "The Master."
My opinion has to do with "The Master" writer-director Paul Thomas Anderson ("Punch-Drunk Love," "Magnolia," "Boogie Nights"), whose films are fascinating and confounding mish-mashes of big ideas, intriguing characters and performances connected by often incoherent storylines and punctuated by shock-value scenes.
"The Pan Show" is the Lehigh Valley's most wildly-imaginative original musical of the year.
It's also "Panda"-monium.
Yes," it's a "Pan"-demic of laughter with Touchstone Theatre's "The Pan Show: In Pan We Trust."
Forget about the trouble with the chair.
There's no trouble with Clint Eastwood in "Trouble with the Curve."
Eastwood is as delightfully cantankerous as ever as an elderly baseball scout named Gus who still pours over stacks of newspapers rather than log onto the computerized "Moneyball" statistical analysis approach to assess high school, college and other Major League Baseball prospects.
"Lawless" is a brutal drama based on a true story said to have taken place during the Great Depression in 1931 in Franklin County, Va.
With the advent of Prohibition in 1920, following passage of the Volstead Act as the 18th Ammendment in 1919, the making and drinking of alcoholic beverages was banned in the United States.
For members of Fishtank Ensemble, the music world is their oyster.
The cover of Fishtank Ensemble's latest CD, "Woman in Sin," looks like a pop-up greeting card with the eclectic music group's images in front of, or perhaps in, an aquarium surrounded by denizens of the deep.
Fishtank Ensemble, which played Musikfest in 2011, plays at 8:30 p.m. Sept. 27, Mauch Chunk Opera House, Jim Thorpe.
"Robot & Frank" is a cute comedy-drama that presents issues about growing old and health care for the elderly in a very entertaining way.
The film by movie producer turned first-time feature director, Jake Schreier, and TV writer-producer and first-time feature screenwriter, Christopher D. Ford, should garner an actor Oscar nomination for Frank Langella, previously nominated for his stunning portrayal of former President Richard Nixon in director Ron Howard's "Frost-Nixon" (2008).
The envelope, please.
That's the plot device on which, ahem, rides "Premium Rush," one of late summer's most adrenaline-charged movies.
The title refers to the speed, priority or experience of a New York City bicycle-courier delivering a high-priority message.
Never mind the definition. This film is the fastest thing on reels. You'll grip the arm of your movie theater seat, the person next to you (best to know him or her first) or your reporter's notebook (as was my case).