• DENVER — The theme seems inviting this year at the 37th Starz Denver Film Festival, with organizers and promotional posters urging viewers to “step into the story.”

  • "Interstellar" isn't so much great as it is a signifier of something great: Director Christopher Nolan breaking free from the comic book world and tackling something personal and profound -- even if he's using overblown intergalactic spectacle to do it.

  • Sophea and Brian Wilson, of Henderson, announce the birth of a son, Benaiah Viseth Wilson. He was born Oct. 27, 2014, at Platte Valley Medical Center in Brighton, weighing 7 pounds, 3 ounces, and measuring 20 inches.

    Grandparents are Sophal Chin and Sea Chhe, of Cambodia; and Timothy and Constance Wilson, of Westminster.

    Benaiah joins his sibling, Sovannarith Tim Wilson, 3.

  • The intoxicating allure of taking what's to be had in America — whether by greed, ambition or lust for control, the cruel and pitiless side of the national dream has been potent fodder for a number of classic films.

    “Nightcrawler” aims to be one of them but doesn't feel the need to say much more than its thesis statement, which is only slightly forgivable given the solid lead performance by Jake Gyllenhaal as Lou Bloom.

  • Cassie and Landrey Hunter, of Bennett, announce the birth of a son, Lane Cole Hunter. Lane was born Oct. 9, 2014, at Platte Valley Medical Center in Brighton, weighing 7 pounds, 6 ounces, and measuring 20.5 inches.

  • 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.

  • 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? 




    Aaron Cole

    Auto Columnist




    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.

  • “It’s OK 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.”

  • Jacklyn R. and Joshua A. Davison, of Thornton, announce the birth of a daughter, Ariannah Rose Davison. She was born Sept. 8, 2014, at Platte Valley Medical Center in Brighton, weighing 7 pounds, 4 ounces, and measuring 20 inches.

    Grandparents are David and Rausha Schreiner, of Brighton; and Lucky and Linda Davison, of Brighton. Great-grandparents are Dave and Pat Schreiner, of Brighton.

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




    Aaron Cole

    Auto Columnist


  • 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.

  • 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.

  • “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.




    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. 

  • 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.

    Enter “Wish I Was Here,” the second feature film directed by Zach Braff, whose “Garden State” was quickly hailed as a sort of voice-of-a-generation work before suffering years of subsequent backlash and criticism for its quirkiness (Are you listening, Lena Dunham?)


  • 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."