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While motion picture films have been around for more than a century, film is still a relative newcomer in the pantheon of fine arts. In the 1950s, when television became widely available, industry analysts predicted the demise of local movie theaters. Despite competition from television’s increasing technological sophistication over the 1960s and 1970s, such as the development of color television and large screens, motion picture cinemas continued. In the 1980s, when the widespread availability of inexpensive videocassette recorders enabled people to select films for home viewing, industry analysts again wrongly predicted the death of the local cinemas.

In the 1990s and 2000s the development of digital DVD players, home theater amplification systems with surround sound and subwoofers, and large LCD or plasma screens enabled people to select and view films at home with greatly improved audio and visual reproduction. These new technologies provided audio and visual that in the past only local cinemas had been able to provide: a large, clear widescreen presentation of a film with a full-range, high-quality multi-speaker sound system. Once again industry analysts predicted the demise of the local cinema. Local cinemas will be changing in the 2000s and moving towards digital screens, a new approach which will allow for easier and quicker distribution of films (via satellite or hard disks), a development which may give local theaters a reprieve from their predicted demise.
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Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.

Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic’s overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.

The impact of a reviewer on a given film’s box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.
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Those yellow, animated phenomenons have finally made their way to the big screen and it only took eighteen years. So does the animated movie live up to the hilarity of the television show? Read on and find out – doh!
The town of Springfield’s lake is overly polluted and socially conscious Lisa Simpson (Yeardley Smith) rallies the town to clean it up. Her dad Homer (Dan Castellaneta) saves a pig from being slaughtered after it’s used as a prop in a Krusty the Clown commercial and starts to treat it like the son he always wanted.

This doesn’t set well with Bart (Nancy Cartwright) who finds that Mr. Flanders (Harry Shearer) is a more caring father than his pig loving one. Homer’s new oinking child does what pig’s do and Homer puts the results in a huge silo in the backyard (well, Homer did put a little of himself into the job). His wife Marge (Julie Kavner) tells him to get rid of the silo of pig waste.

Homer does of course, by dumping it on Lake Springfield. This infusion of pollution causes the Environmental Protection Agency to become alerted to the situation. They react in their usual restrained manner – the director Russ Cargill (Albert Brooks) orders that a huge glass dome cover the town.
The Simpsons eventually find themselves outside the dome and Homer decides to take off rather than help his neighbors (especially since they formed an angry mob against him when they found out that it was his silo that pushed the lake over the limit). He takes the family to Alaska and start over again, but the rest of the family thinks they should return and save Springfield.
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Dawn of the Dead (2004)

Tagline: “When there’s no more room in hell, the dead will walk the earth.”

I’d like to start this review by committing horror movie blasphemy. Ready? Here goes. George Romero’s original three Dead movies are overrated (I’m not even going to comment on the train wreck which is Land of the Dead). While entertaining, they are also low-budget flicks with average acting and pacing about as slow as the shambling zombies depicted therein. Hardly the holy trinity which they’ve been made out to be.

And let’s not forget the much-lauded social criticism. Racism? Rampant consumerism? It’s all handled with the subtlety of a hammer to the back of the head. Listen, if I want social commentary in a movie, I’ll watch Gandhi or Norma Rae. When I sit down for a zombie movie, I want non-stop action and buckets of gore. Period. Anything else is just a bloody cherry on top of my horror sundae. It’s for these reasons (and others, which I’ll detail later) that I find the 2004 version of Dawn of the Dead to be more satisfying than the original.

Adapted by James Gunn (Scooby Doo) from the original 1978 George A. Romero screenplay, Dawn of the Dead opens by allowing us to get briefly acquainted with the movie’s central protagonist, a pretty young nurse named Ana (Sarah Polley). But her safe suburban lifestyle is short lived, and a mysterious epidemic ensures that Ana is fleeing from ravenous zombies before the movie even hits the ten minute mark. She soon meets Kenneth (Ving Rhames), a tough-as-nails cop, and moments later they come across
Michael (Jake Weber), a soft-spoken but natural leader, Andre (Mekhi Phifer), a man with a questionable past, and Luda (Inna Korobkina), Andre’s pregnant girlfriend.

They take refuge in a sprawling shopping mall, but quickly run afoul of the
less-than-hospitable security guards C.J. (Michael Kelly), Bart (Michael Barry), and Terry (Kevin Zegers). More characters are added later, notably Steve (Ty Burrell), a smart-ass yuppie, and Andy (Bruce Bohne), the owner of a nearby gun shop. As the horrible infection spreads across the globe, and the situation becomes increasingly desperate, the characters come to realize that no help is coming from the outside. If they are to survive, they must take matters into their own hands. Luckily for us, that involves chainsaws,
armor-reinforced parking shuttles, and propane tanks rigged into makeshift bombs.
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