In recent history, television has been far more welcoming to women both in drama and comedy than big-studio movies have been. McCarthy is one blissfully funny woman, but also because her movies pulled in more domestically than Adam Sandler’s “Grown Ups 2.” We also adore Melissa McCarthy, who starred in two movies that scooped up cash (“The Heat,” “Identity Thief”), which is a welcome sign not only because Ms. We also like the perhaps not unrelated theme of the apocalypse (“The Hunger Games: Catching Fire,” “Star Trek Into Darkness,” “World War Z”) and another perhaps not unrelated theme: funny crooks (“We’re the Millers,” “Identity Thief”). As a snapshot of where we’re at, those movies suggest that Americans like watching capitalist heroes who are both triumphant (“Iron Man 3”) and tragic (“The Great Gatsby”). Some of the year’s Top 20 grossers are pretty good others are awful.
Look closer, though, and you soon discover that this year was more or less like last year, and the top grossers at - the movies that most Americans see in theaters - were dominated by sequels, franchises and reboots, from “Iron Man 3” (the highest grosser, which vacuumed up more than a billion dollars worldwide) to “The Wolverine” (domestically No. That’s how it appears in the hothouse of a film festival, which can convince cinephiles that movies over all are better, more ambitious and adventurous than they are. Oscar - season kicked off in August at Venice and Telluride, which offered up the likes of “All Is Lost,” “Gravity” and “12 Years a Slave.”īy the time the Toronto and New York festivals (“Captain Phillips”) kicked off in September, it seemed as if 2013 were on its way to becoming one of the best years in ages. Critics began sending the cheering news about thinking-adult entertainment from the Cannes Film Festival in May (where “The Great Beauty,” “Inside Llewyn Davis” and “A Touch of Sin” sent filmgoers into raptures), good news that continued once the fall - a.k.a.
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