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  • Annie 2014

    ★★ Watched 17 Dec, 2014

    Updating the title character from the Great Depression to the Great Recession, director Will Gluck’s thoroughly modern Annie is a candied corporate fantasia that could only take place in Taylor Swift’s New York. Although the film might have been a fun holiday diversion, its admirably revisionist spirit is undermined by the same proto-Randian contempt for the poor that first defined the story of America’s most optimistic orphan when she was introduced in a 1924 comic strip.

    Annie (Quvenzhané Wallis) is…

  • The Interview 2014

    ★★★★ Watched 10 Dec, 2014 2

    Despite making a career of playing slight variations on the same pasty manchild, Seth Rogen (together with longtime collaborator Evan Goldberg) has consistently leveraged his broad appeal as a vehicle for laughing at the great crises of our times: cancer (50/50), the apocalypse (This Is the End), Zac Efron’s abs (Neighbors). But if Rogen has always been unafraid to go places that most people won’t, The Interview marks the first time he goes to a place that most people can’t: North Korea.

    FULL REVIEW ON TIME OUT NY: www.timeout.com/us/film/the-interview

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  • Godzilla 2014

    ★★★★½ Added 18

    GODZILLA is the TRUTH.

    one of the most satisfying, well-paced & beautifully directed blockbusters since Jurassic Park. a genuine spectacle of humility. Many complaining that the film abandons interest in its characters, but the perils of human egocentrism in the face of global crisis = the entire point. genuinely registers as the first post-human blockbuster. i almost feel like people have been conditioned to the explosive banality of contemporary tentpoles... but if any $200 million monster movie is going to feel…

  • The Grand Budapest Hotel 2014

    ★★★★½ Watched 03 Feb, 2014 8

    The Grand Budapest Hotel is the film with which Wes Anderson finally answers his critics, and the message could not be clearer or more immaculately embossed in Futura on an insert shot of the most delicate stationary: “Go fuck yourselves.” Anderson has been contemporary American cinema’s most hostile aesthete for well over a decade, and ever since 2003’s The Life Aquatic made it obvious that the filmmaker has exactly zero interest in apologizing for his affectations, each of his subsequent…