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Talking with Patrick Brice of THE OVERNIGHT, CREEP

Going into 2014’s SXSW, Patrick Brice was an unknown entity, opening the door for the horror knockout that was Creep. With Mark Duplass and an HD camera, Brice made one of the year’s best horror films with little to no dollar bills. All the more impressive is his follow-up, the hilarious and heartfelt The Overnight. With a bigger cast, more money, a formalized script and a sprig of confidence, Brice set out to out-do himself in every way possible. I sat down with Patrick for this two-part discussion of what is easily one of my favorites of the year. Join us as we talk about the transformation from first time director to Sundance sparkler, his desire to dip his toe into thrillers, the responsibility of doing bigger and better projects, pushing the boundaries of comedy, the potential of horror movies and those infamous penis prosthetics.

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Talking With Pete Docter, Jonas Rivera of INSIDE OUT

For years, Pixar implied the highest standard in animation. A fifteen year run that spanned from Toy Story to Toy Story 3 included such classics as Monsters, Inc., Finding Nemo, The Incredibles, Up, Wall-E, Ratatoiulle. For most studios, that amount of #winning would be tantamount to a lifetime of work. And though Pixar’s latest efforts have been middling at best (the trifecta of Cars 2, Brave and Monsters University marked a major low point for the animation studio’s creative juices) Inside Out (full review here) has arrived to return the studio to its former glory. Read More

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Out in Theaters: INSIDE OUT

It’s been five long years and three mediocre products since Pixar unleashed the beloved Toy Story 3, and years of bated breathe have contribution to the hot anticipation of their first original effort since 2012’s problematic Brave. The titanic mummer of Pixar’s throbbing heartbeat has  been notably muted and palpably chunky over the last half-decade – the result of Disney dollars hierarchized above lush originality and narrative fervor. But with Inside Out, the Docter is in. Stethoscopes have been administered, a double bypass has been performed, the blockage has been loosened. In one fell blow, Pete Docter has served up a whopping Pixar masterpiece and restored the animation studio’s name to its former glory. All hail the king. All hail the Docter.

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Talking with Michael Winterbottom of THE FACE OF AN ANGEL

Michael Winterbottom has been making films since 1990 but it wasn’t until 2010’s The Trip that international audiences pivoted their heads towards his product. Sure, 2007’s A Mighty Heart marked a turning point for Angelina Jolie‘s career – with Winterbottom’s somewhat acclaimed film demanding the actress be taken more seriously than her resume of late – and 24 Hour Party People, though not quite deserving of the title, is cult-like in its reach, what with career-beginning performances from Steve Coogan and Andy Serkis. Read More

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Out in Theaters: ME AND EARL AND THE DYING GIRL

At this year’s Sundance, I skipped Me and Earl and the Dying Girl because, let’s be honest, it’s not a great title. I took in Noah Baumbach’s ruthlessly silly Mistress America instead with Earl playing just a screen over. Had I known it would go on to a standing ovation and stealing US Grand Jury and Dramatic Audience Awards at the fest, I probably would have hung around. Since its premiere, M+E+DG has gone on to become an audience favorite and critical darling throughout the territories its played, holding onto its 100% Rotten Tomato score. Having said that, I still wouldn’t suggest plopping “Dying Girl” into any future movie titles. Still a major turnoff.

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Talking with Alfonso Gómez Rejón of ME & EARL & THE DYING GIRL

Six months ago, Alfonso Gómez Rejón‘s stock was of Jordan Belfort’s penny list variety. He himself had to push it on people. And that’s exactly how he landed a gig directing the Sundance-winning, indie-record-breaking, standing-ovation-inducing Me & Earl & The Dying Girl [our review here]. Says Rejón, “I had to fight for the job…. It was torture.” But Rejón would gleefully admit that the painstaking process that got him from point A to point sitting behind that coveted director’s chair was one well worth it. After all, he’s gone from penny stock to Fortune 500 in one quick go. Read More

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Out in Theaters: SPY

Like Funyuns, Melissa McCarthy is an acquired taste. In her least delicate projects, she vaults around the frame, sharting and cursing to the apparent delight of squealing audiences that I just don’t relate to. Even in Paul Feig‘s Spy – a film that affords her at least an attempt at a three-dimensional character – a wide margin of the comedy is rooted in McCarthy’s heft and just how riotous it is to see a fat lady try to do normal lady things. Tee-hee. Read More

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Out in Theaters: INSIDIOUS: CHAPTER 3

The first tick box I’ll address on this lengthy list of movie sins is that Insidious: Chapter 3 is misnamed. A more accurate title would be Insidious: The First Chapter or Insidious: The End of the Beginning. or Insidious: Unbelievably, The Shittiest One Yet. Chapter 3 implies the continuation of a story that began in chapters one and two. People who’ve read chapter books likely already know this fact. Unfortunately, it appears that the creators of this film weren’t privy to the vestige of knowledge contained within chapter books. Because outside of setting up a character whose appearance in the first Insidious movie also suspiciously marked its drastic dip in quality, this third chapter has absolutely nothing in common with the two that hit theaters before it. It’s like reading “Harry Potter and the Chamber of Secrets” and then “Harry Potter and the Prisoner of Azkaban” and then “Harry Potter and the Sorcerer’s Stone”. Except Rowling intended for you to read it in that order. Read More

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Talking with Atticus Ross of LOVE & MERCY, GONE GIRL, SOCIAL NETWORK

There are few composers who intrigue me enough to want to pursue an interview: John Williams, Hans Zimmer, Alexandre Desplat. Atticus Ross. Unlike many of his contemporaries, Ross lends his talent out sparsely – completing just a pair of film scores each year while his peers often churn out four to seven. He earned his name alongside Nine Inch Nails band leader Trent Reznor scoring David Fincher‘s The Social Network, a game-changing composition that went on to Academy Award acclaim. Since then, Ross has joined each of Fincher’s projects working alongside Reznor to provide dark, harrowing musical compositions to underscore Fincher’s devilish palette. Read More

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10 Best Movies of 2015 So Far

For the casual film-goer, 2015 has started off on relative slow footing. Dumping ground months January and February held few critical or commercial surprise hits – outside of one release featured on this rundown – with anything of worth reserved for festival-going audiences. Barring the outrageous international money-vacuum that is Furious 7, Summer 2015 has proved a touch disappointing with expected giants such as Avengers: Age of Ultron landing softer than anticipation (while still claiming the second biggest opening weekend ever) and big franchise resets like Terminator: Genisys and Jurassic World waiting in the wings with big question marks (and budgets) hanging over their heads. Read More