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‘FAST X’ Accelerates the Tired Franchise Into a Wall of Absurdity

Death has been tamed in the realm of the Fast and the Furious, a universe where mortality is less of a concrete reality and more of a minor inconvenience. Explosions, vehicular disasters, bullets, and even cosmic escapades seem to have lost their lethal touch. Notably, Paul Walker’s Brian O’Conner, who we mourned back in 2013, has somehow cheated death’s finality to make posthumous cameos in four subsequent films. It’s an impressive work ethic that redefines the very essence of ‘life after death’. Why die when resurrection is but as plot contrivance away? Read More

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There’s Somehow Even More Family And Furious Stupidity in Ridiculous ‘F9’

It might not have been until F9: The Fast Saga that the Toretto crew finally launched into outer space but the long-running Fast & Furious franchise left Earth’s rotations a long time ago. When Fast Five reconfigured what was possible for the crew of once-car-jackers and small-time criminals by making them larger-than-life master-criminals to whom the laws of physics bent the knee in surrender, all bets were finally off. Helmer Justin Lin had reached a pinnacle of the utterly ridiculous, high-octane bombast that fueled the car-based action films and laid the template for all that would follow. Fast would never be the same.  Read More

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FYC Capsule Review: ‘BOMBSHELL’

Like Adam McKay before him, Jay Roach has shifted from the world of comedy to that of the didactic and politically-tinted American drama and with the effective and affecting Bombshell, his transformation is complete. The film follows a number of women working at Fox News under Roger Ailes (John Lithgow) as details emerge about the newsman’s sexual misconduct. With Charlize Theron, Nicole Kidman, and Margot Robbie all on the marquee, the acting is the center showpiece here, with Theron in particular embodying controversial conservative reporter Megan Kelly to an almost-frightening degree. The makeup and prosthetic work cannot be underplayed. The film can be challenging to watch as it puts Ailes’ disgusting behavior into hyper-focus and details the emotional fallout inflicted upon his victims, who have to weigh professional aspirations against their emotional well-being. Roach manages to synthesize a message in a bottle film with all the window dressings of a flashy drama and everyone, particularly Fox News devotees, should be forced to take a hard look at what goes on behind these particular curtains. (B)

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Politically Tinted ‘LONG SHOT’ a Rogen-Theron Rom-Com Hit

God bless Seth Rogen. The Canadian-born comedian and Freaks and Geeks alum has made a career playing lovably disheveled stoners, his public persona often aligning with the characters he plays, if reliably less successful. In Long Shot, Rogen’s third collaboration with director Jonathan Levine (50/50, The Night Before), Rogen steps into familiarly stoney, snarky shoes as a left-leaning journalist named Fred Flarsky who rekindles a relationship with his old babysitter Charlotte Field (Charlize Theron), who is currently running for president. Read More

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Out in Theaters: ’TULLY’

Parenting is perpetual sacrifice. Or so says Jason Reitman and Diablo Cody, the directing-writing duo behind poppy cult classic Juno, with their comeback collaboration Tully. A dramatic comedy or comedic drama, depending on how you want to look at it, Tully is a soaring success no matter what box you want to put it in; a well-meaning, deeply felt, irreverently mature exploration of growing pains and adulating. Charlize Theron is a knock-one in this deliriously enjoyable feature that has no short supply of wit, bite and verve with a shot of mindfuck mixed in to boot.  Read More

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Out in Theaters: ‘ATOMIC BLONDE’

You wouldn’t be wrong to assume that David Leitch’s Atomic Blonde is something akin to John Wick’s younger, hotter sister. Leitch did, after all, cut his teeth in the film industry coordinating and performing stun twork – as did Chad Stehalski, Leitch’s co-director on John Wick. The two Hollywood cowboys are equally infatuated with style above all else, though in Atomic Blonde’s instance it feels less superficial, even while embracing maybe the most superficial time in history – the bitchin’ 80’s.

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Out in Theaters: ‘KUBO AND THE TWO STRINGS’

If there was ever any doubt that the circle of awesome that began with Coraline, Paranorman and The Boxtrolls would be broken, breathe relief. First-time director Travis Knight has led the masterful animators at Laika to victory once more with Kubo and the Two Strings. With the precision and delicacy of a samurai, Knight and his roundtable of figurine tinkerers carved out my heart and left it a fluttering mess, crafting a spellbinding adventure that thrums with wistful soul and spirited poignancy. In an age of skepticism and cynicism, Knight and the Laika wizards prove real alchemy exists. Marrying resplendent visual imagination with potent mature themes, they have made gold. Read More

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Out in Theaters: ‘THE HUNSTMAN: WINTER’S WAR’

The Huntsman: Winter’s War suffers from colon-movie spina bifida. Its curvy backbone veers near and far to collect the disparate parts necessary in making this part of a larger cinematic universe. In this case, that universe is Universal Picture’s Snow White, a bleak fairy tale retold with undeniable visual style and largely charmless aplomb in 2012 with an aggressively apathetic Kristen Stewart at the forefront and a scenery-smacking, mean-mugging Chris Hemsworth as her side piece. Putting his considerable beef to good use as the movie’s romantic tine/battle-weary whetting stone to slide K-Stew’s frosty edge against, Hemsworth proved a fleeting flash of joy in an otherwise grim and grimly serious saga. His burly Eric however hardly seemed an intriguing (or popular) enough character to stage a spin-off upon but if The Huntsman is proof of anything, it’s that adding a hefty scoop of Jessica Chastain, a dollop of dwarves and a much more tongue-in-cheek approach to this whole fairy tale thing may be just the spoonful of medicine the script doctor called for. Read More

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Out in Theaters: DARK PLACES

The charge for any movie based upon a popular novel is two-fold. First, they must remain  faithful to the source material. You can’t have a writer bandying critical alterations in plot or character, lest they invite the chagrin of a million swarming fanboys, ready with pitchforks and sub-reddit comments. Secondly, they must inject some modicum of vision into the material. To transform a novel into a film without tact or some place of purpose is to present an audience with a run-down of in-book events without much-needed personality or intent. Think James Franco adapting Faulkner or Angelina Jolie taking on “Unbroken”. They failed because they were “adaptations” and nothing more; they changed the medium, but lost the soul. Read More

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Out in Theaters: MAD MAX: FURY ROAD

It has been a long, long time since I’ve put together one of these, but damn is it good to be back. That’s likely what Mad Max: Fury Road director George Miller had on his mind his first day on set for one of the most impressive action films in the past decade. I can only marvel at what Miller has achieved with his latest film, mouth agape and eyes fully dilated. Fury Road was one of the wildest rides I have ever had the honor to take. Read More