I think it's impossible, at this point, to experience this purely as a movie in the traditional sense. Much less give it any sort of real critical analysis.
Sure... One can observe the surface details and look at the intent. Richard O'Brien wrote a raunchy burlesque parody of sci-fi B movies, which was then transformed - ambitiously so, given the minuscule budget - into a feature film...which was summarily greeted with a collective head-scratching grimace of absolute confusion by the…
Comedy sequels are tough, aren't they? So much tends to hinge on the freshness of concepts and characters placed in specific situations...all of which is seldom good for more than one go round.
And so, predictably, this is a disappointment.
Not for lack of trying, I suppose. But did we really need to see the continuing adventures of these characters? I know, maybe, in some way we wanted to. But we're stupid. We don't know what we want most of…
Jason Bateman's foul mouthed comedy is often very funny. After all, it's quite possible he's mastered the craft of portraying the laconic, smarmy dick. And so, here we see what might have happened if he'd been cast as Gob, instead of Michael Bluth.
That's what I'm saying. Jason Bateman is very good at playing a fucking asshole.
If there's a problem, it's that he's also hell-bent on making the movie about something.
The basic premise is unfathomable and absurd. Even…
Has this ever been seen as a classic?
I don't know... But, in any case, it pretty much sucks.
I think there's the potential for interesting stuff here. Sure, the metaphor aspects of it are obvious...and clunky. But go ahead. Use a supernatural element to observe the realities of puberty. There are valid things to be said, and an audience that may appreciate the message.
I think what happens is this was made in a less careful era. It's possible…
Up front, I'll say that the filmmakers behind this thing were able to maneuver their way around the distracting element of Paul Walker's death surprisingly well...and tastefully, which I think was to be expected.
And James Wan proves to be about as adept at orchestrating the sort of madcap, plasticized action mayhem this series requires as Justin Lin was before him.
All that being said, this is not without its share of problems. And I'll be very curious to investigate…
I think it's safe to say that most 80s slasher classics are really just paranoia thrillers aimed at teenagers... With their none too subtle sexual subtext and the constant peril of early death being the driving force.
I think the great value in this post modern variation on that formula is David Robert Mitchell very astutely puts that subtext at the forefront, and builds an effective and propulsive narrative around an idea that is pure subtext. There is no "text,"…
As expected... A heartfelt, two-hour tribute to Roger Ebert the critic, with a strong emphasis on Roger Ebert the person.
Steve James' standard documentary treatment is not all that interesting cinematically... And the movie doesn't really go beyond the surface details.
But it doesn't have to.
Ebert is a writer who revealed himself through his work...the great bulk of which is available for you to dig in. And you should. What this documentary is, then, is a companion piece for…
At first, this movie is a little too fanciful... And almost insufferably smug. Then it actually gets clever. Then, it goes to some truly wacky places. By the time it ends, it's rather brilliant.
I think they get that these spy movies are inherently ridiculous. And they want to make sure we get it too, hitting us over the head with that point a little too much. But Colin Firth really is perfectly cast in this. It's like he took…
This is review-proof, basically.
Because it is what it is. And you either know what this is and you like it; or you don't know/don't care/don't understand...etc.
To call it a "good" movie is not entirely accurate. Because many people will be unable to see it as such. And to call it a "bad" movie is wrong too. Because it's a film that is 100% exactly what it's attempting to be.
So the only thing you can call it is…
This legendarily bad movie is, in fact, pretty bad.
But I think, more than anything else, it's fascinating. The process of watching it is somewhat of an intoxicating experience - and probably even better if you are intoxicated - as it is such a singular film in its bizarreness.
There's a reason Tommy Wiseau hasn't made any more films. And that reason is he doesn't really seem to know how to make them.
But it's also worth noting that he…
It's a tricky thing to take what is, basically, a one set play and transform it into a cinematic experience.
But maybe one reason this wonderful and underrated film works so well is Sidney Lumet doesn't even try. It's a movie that understands the magic of an intimate theatrical experience and consciously attempts to replicate that sensation for the screen.
Part of that is the meta nature of the play itself. It's a twisty thriller predicated on the nature of…
What if John Carpenter had made First Blood?
If you want the answer to that question, all you have to do is watch this film. Because Adam Wingard has sure done his homework, and grew up watching all the same kooky genre films we did.
And so you have this splendid pastiche... Or throwback. Whatever you want to call it. With its careful pacing, electronic soundtrack, and generally apocalyptic ethos... It's like a terrific cult film from the eighties that…