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Features

  • Remember your mother telling you, “if you can’t say anything nice, don’t say anything at all”?

    We’re going to stick to that sage parental wisdom for the rest of this paragraph and then get on with the business of talking about David Dobkin’s “The Judge”: The cinematography is nice.

  • Ashley and Corey Guildner, of Parker, announce the birth of a son, Cayden Ivan Guildner. Cayden was born Sept. 12, 2014, at Sky Ridge Hospital in Lone Tree, weighing 7 pounds, 2 ounces.

    Grandparents are Gary and Donna Howard, of Brighton; and Kerry Guildner, of Bailey. Great-grandparents are Carol Howard, of Brighton; and Don Sundahl, of South Dakota.

  • Brandy and Shaun Dumas, of Lochbuie, announce the birth of a daughter, Sadie Brielle Dumas. Sadie was born Sept. 26, 2014, at Platte Valley Medical Center in Brighton, weighing 7 pounds, 13 ounces, and measuring 20.75 inches.

    Sadie joins her siblings, Zach, 11; Shelby, 5; and Tatum, 2.

  • Ever wonder about those people who upset about movie trailers, claiming to be misled by them? Ever scratch your head at the woman who sued over “Drive” not being more like a “Fast & Furious” flick? 

  • “It’s okay to cry... or to laugh. There’s no correct response,” explains Jane Fonda’s implant-flaunting matriarch Hillary Altman near the end of director Shawn Levy’s dysfunctional family rom-com “This Is Where I Leave You.”

  • "It's okay to cry... or to laugh. There's no correct response," explains Jane Fonda's implant-flaunting matriarch Hillary Altman near the end of director Shawn Levy's dysfunctional family rom-com "This Is Where I Leave You."

  • By Brad McHargue, Film Critic

    Kevin Smith’s “Tusk,” the director’s second foray into the horror genre and a film effectively brought to life thanks to a podcast and a Twitter campaign, suffers from a terrible case of preconceived notions.

  •  By Aaron Cole, Auto Columnist

    It seemed apropos that the outgoing Subaru STI had the longest name this side of old British aristocracy. The Subaru Impreza WRX STI was a buildup to a promise that it usually delivered; that by reciting the entire name you whittled away with words the sport sedan’s competition. Subaru? OK. Impreza? Sure. WRX? Now you have my attention. STI? You’re at 60 mph now. 

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    Aaron Cole

    Auto Columnist

     

  • Perhaps the finest compliment I can pay to director/star Jon Favreau’s film “Chef” is that it made me rethink my cinematic palate.

  • I sat, flummoxed and blocked as a writer, in trying to start my review of director Lenny Abrahamson's new film "Frank" when I stumbled upon Abrahamson's own words regarding his film — specifically, that it "might be trickier to describe than it was to make."

    Darn right, Lenny.

  • In the interest of full disclosure, I never saw “The Expendables 2.”

    That having been said, the smart money would say I didn’t miss much in trying to decipher what’s going on in “The Expendables 3.” In fact, having seen “The Expendables 3,” I’m confident in saying that I wouldn’t have missed much had I skipped the latest (and hopefully final) installment in the franchise’s history.

  • There are some movies that defy any sort of critical examination.

    A certain subsection of comic book and ultra-merchandized titles are written, filmed and marketed to only need the support of a reliable base of brand fans to make them profitable; barring profitability, they serve as an excuse to keep the franchise at the forefront of the conversation, even if that means spending millions on commercial saturation and hundreds of hours of executing fast-food tie-ins and other marketing efforts.

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    Aaron Cole

    Auto Columnist

     

    When the sixth-generation Volkswagen Passat arrived in 2012, the word “sport” only applied in verb form. As in, “I’m sporting a new Passat in my driveway. Want to see what I sit in traffic in all day?”

    To be even more blunt: that mid-size sedan had all the sporting potential of your nearest comic book convention. 

  • “Why so serious?” That query, issued by Heath Ledger’s Joker in Christopher Nolan’s “The Dark Knight,” signifies the sea change in the comic book movie world, as the creative minds behind Marvel and DC ramped up their dramatic stakes and injected more than their usual half-hearted stabs at politics and satire into their new films.

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    Aaron Cole

    Auto Columnist

     

    Let moderation mumble from humbler mouths. 

    When you’re the flagship for luxury (or: another man’s excess) moderation could be synonymous with defeat. 

  • Squeezing tension out of anything the story throws at it, writer-director Luc Besson (“The Fifth Element,” “Leon The Professional”) has created a stupidly entertaining sci-fi action film in “Lucy,” starring Scarlett Johansson as the titular wonder woman.

  • Director Richard Linklater’s best films expertly blur the lines between fact and fiction, pseudo-realities of nostalgia (“Dazed & Confused”) and sustained memory (the “Before” trilogy).

    His latest film, “Boyhood,” accomplishes this as perfectly as any film he’s made by using the same actors in the same roles over a 12-year span of filmmaking to tell the story of Texas boy Mason (Ellar Coltrane) and his journey from pillow-fighting 6-year-old to college freshman.

  • If the medium of moving pictures is here not just to entertain us, but also perhaps to enlighten and engage us with deeper feelings and sincere emotion – authenticity means something.

  •  What if they made blockbuster summer action movies that made you think and even elicited genuine emotion? It doesn't happen often, but when it does it's usually something special. Think Christopher Nolan's "Inception."