Inspired by the dirty doings of mass murderer Charles Whitman, 1968's once-controversial Targets is the first true film directed by Peter Bogdanovich and also — I think, despite Oscar love for his '70s work — his best. It's also one of Warner Archive's finest rescues from out-of-print oblivion yet.
If you don't already hate hippies, An American Hippie in Israel just might shove you into that corner. The 1972 oddity by first- and last-time filmmaker Amos Sefer is as odd as it is unsubtle; this is a film that runs its lone point into the ground with the weight of … well, the steamroller that flattens the flowers in the opening credits. Get it?
With the run of original Star Trek films, there's a long-standing theory that only the even-numbered entries are good, i.e. Star Trek II: The Wrath of Khan, Star Trek IV: The Voyage Home, Star Trek VI: The Undiscovered Country. Well, that theory does not apply to director J.J. Abrams' rebooted franchise; both of his voyages of the starship Enterprise — 2009's Star Trek and this summer's sequel of Star Trek Into Darkness — stand strong as successes across the board: creative, critical and financial.
Once upon a time, the idea of a film being silent, foreign and — steee-rike three! — black and white equated to box-office poison. Then 2011’s The Artist won five Academy Awards, including Best Picture; earned $133 million worldwide; and lived happily ever after.
To paraphrase a character late in The Black Waters of Echo's Pond, anything to get off this movie. From the start, director Gabriel Bologna (The Asylum's 30,000 Leagues Under the Sea) has no real hold on the material; what little there is gets so far away from his grasp that his last name proves accidentally apt.