Avatar: Still a Groundbreaker in CGI, but Not in Story
I suppose you could argue that the story wasn’t what Director James Cameron was aiming for, it was the visuals. The spectacle of it all was the point, and it certainly shows.

In 1988, after much cunning political maneuvering, Loïk Le Floch-Prigent and Alfred Sirven become the chief executives at Elf. They discover a company that runs on kickbacks: in exchange for the oil rights, Elf makes handsome but discreet payoffs to the leaders of African nations. With the tacit complicity of President Mitterrand, and with eventual political and personal interests in mind, the new management takes charge of the slush fund. Within months, Sirven, Le Floch-Prigent and his wife Fatima Belaïd fill their pockets with more than they could ever have imagined.
I suppose you could argue that the story wasn’t what Director James Cameron was aiming for, it was the visuals. The spectacle of it all was the point, and it certainly shows.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
Richard speaks with Dia Frampton about some of her experiences with acting and music.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
When Eddie Palmer is released from prison he returns home and he meets Sam, soon becoming his primary caregiver.