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  • Man Camp

    Man Camp


    Nate Bakke’s Man Camp contains many comedic elements that I thoroughly enjoy, and some that I do not. This story of three grown men in various states of arrested development coming to terms with the loss of their father contains strong relational humor, while also falling back on oafish comedy that too often stumbles into slapstick. Thankfully, in the end, a committed cast and a solid undercurrent of pathos elevate the film, effectively preventing it from becoming too broad.

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  • Cats



    It begins with horror. As strange-looking creatures skulk out of the shadows, their forms coming into sharper focus, our eyes widen as we begin to understand what we’re seeing. Nightmarish human-feline hybrids begin to emerge from the darkness, laughing and dancing, as from some perverted Dr. Moreau vaudeville act. At first it is hard to believe that an entire film could ever be built around such monsters. But Tom Hooper’s CATS confounds all concepts of basic cinematic decency, as it stands center stage and boldly – shamelessly – defies its audience to look upon it and despair.

    Full review available below:

Popular reviews

  • The Case for Christ

    The Case for Christ


    Jon Gunn’s THE CASE FOR CHRIST manages to accomplish what so many Christian films have failed to do. While so few of the characters found in modern Christian films ever really register as real, flesh-and-blood human beings, THE CASE FOR CHRIST is peopled with flawed, struggling characters who live in the same world as the rest of us. That combined with the investigative journalistic nature of the story, and we arrive at a film that, while certainly imperfect, is often effective and occasionally even powerful.

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  • 47 Meters Down

    47 Meters Down


    47 METERS DOWN makes THE SHALLOWS look like OPEN WATER, OPEN WATER look like JAWS, and JAWS look like the absolute pinnacle of all human endeavor.