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Out in Theaters: ‘BLAIR WITCH’

When Adam Wingard’s newest feature was simply called The Woods, it was one of my most anticipated features of the season. A minimalist poster and bone-chilling trailer only intensified my desire to take in the latest offering from the director responsible for such horror knockouts as You’re Next and The Guest. On more than one occasion, a band horror-loving critics sat huddled in the dusk of the theater, waiting for our latest press screening to gear up, pining for the coming collaboration between Wingard and penman cohort Simon Barrett. And then one night, like a nuclear bomb, it hit. The news that shook the horror community to their bones. We had all been bamboozled. The Woods was indeed Blair Witch. Read More

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Out in Theaters: ‘SNOWDEN’

Snowden is a biopic about a man of great courage with none of its own. Opting to tell the story of the globally-recognized NSA agent turned whistleblower, writer-director Oliver Stone and co-writer Kieran Fitzgerald craft a narrative akin to a fan fiction version of Snowden’s Wikipedia page – except one should expect more nuance and knowledge from the latter – complete with unnecessary sex scenes, dramatically empty melodrama and, per Stone’s contract, loose-lipped partisan pandering. Read More

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Blu-Ray Review: ‘CAPTAIN AMERICA: CIVIL WAR’

Synopsis: “Political pressure mounts to install a system of accountability when the actions of the Avengers lead to collateral damage. The new status quo deeply divides members of the team. Captain America (Chris Evans) believes superheroes should remain free to defend humanity without government interference. Iron Man (Robert Downey Jr.) sharply disagrees and supports oversight. As the debate escalates into an all-out feud, Black Widow (Scarlett Johansson), Hawkeye (Jeremy Renner), Vision (Paul Bettany), War Machine (Don Cheadle), Scarlet Witch (Elizabeth Olsen), Black Panther (Chadwick Boseman), Winter Solider (Sebastian Stan), Falcon (Anthony Mackie), Ant-Man (Paul Rudd) and Spider-Man (Tom Holland) all must pick a side.” Read More

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Out in Theaters: ‘SULLY’

To return to a parlance that my colleague Mike Ward continues to hit upon, Sully is an odd duck. The American hero’s homage/introspective biopic from director Clint Eastwood is at once a moving portrait of accidental heroism and an undisciplined head-scratcher. As expected, Tom Hanks flies high as the titular pilot-turned-national-icon, joined by an Aaron Eckhart who for the first time in years seems interested in revitalizing his sagging career. There’s moments of emotional tumult and high-flying glory joined to editing that defies explainable and a weirdly non-linear act structure that has the film kinda just starting and kinda just ending and the resulting jumble is a mix of good and bad that still somehow works for the most part. So for those in the market for a good ol’ fashion celebration of aw-shucks American gallantry fixed to sturdy performances, taut set pieces and relatively lightweight uplift cinema, Sully is just the fix you’re looking for. Read More

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Out in Theaters: ‘OTHER PEOPLE’

Other People sets expectations firmly in place early on for its uneven mix of tragedy and comedy. A family huddles in a dark bedroom, some whimpering, some crying out, others silent, all grasping hands, all seeking tendrils of connection, all weeping over a recently departed body. In the midst of this disruptively bleak opening, the landline erupts, echoing through the empty halls. It rings a number of times, awkwardly interrupting the mourning at hand, before clipping to voicemail. Broadcast through the house, a perky female says something to the effect of, “I heard you’re, like, really sick,” and then goes on to sloppily order tacos and Coke at a drive through. Read More

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Out in Theaters: ‘TRANSPECOS’

Like a lens flare cast from No Country For Old Men or an arresting never-before-seen side plot from Breaking Bad, Transpecos sets us on the belt buckle region of the Mexican-American border. In a diminutive shanty of a migra outpost – in essence, a tollbooth and boom barrier – three glorified crossing guards witness hell break loose when a cartel scheme goes belly up. Greg Kwedar’s daring debut is part sun-scotched moral meditation, part adrenaline-fueled character thriller, handsomely brought to life with crisp, concise storytelling and effective, affecting performances that casts a meaningful glance at border politics and the wolves that lie in wait. Read More

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Out in Theaters: ‘YOGA HOSERS’

Yoga Hosers, the second feature in the proposed True North trilogy, refers to the fact that the two main characters, both named Collen, like yoga (or at least writer/director Kevin Smith‘s grossly ignorant appropriation of yoga) and are hosers (Canada’s way of saying fool or dolt.) Convenient store clerks and high school students, the Colleens are frequently buried up to their eyeballs in their smartphones, snapping selfies, posting to the ‘gram and generally disengaging from the physical world around them. When an ancient army of foot-long Nazi sausage clones, called Bratzis, begins to attack their small Canadian town, the girls must put down their iPhones to save the day. Read More

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Out in Theaters: ‘COMPLETE UNKNOWN’

An old flame forks her way back into the life of a married man in Joshua Martson‘s mysterious and somewhat satisfying Complete Unknown. Marston struck a chord with debut Maria Full of Grace, which played Sundance 12 years ago, giving a drug mule a face in performer Catalina Sandino Moreno. With Complete Unknown, the Californian director harnesses a selfsame ability to craft complex female leads but allows the narrative to come to tatters as it crests its many tonal shifts. Read More

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Out in Theaters: ‘THE LIGHT BETWEEN OCEANS’

With The Light Between Oceans, Derek Cianfrance (Blue Valentine) fancies himself both a ballerina and a first responder. The fine line between drippy sentimentality and earnest adult drama is a tightrope that Cianfrance tip-toes with all the testy bravado of Philippe Petie, loading his screen with moody tableaus of bereaved faces and decadent sealand landscapes. With great finesse, he probes the dour depths of the human spirit, framing a lurid moral no-no within a heartrending saga of romantic turmoil. Bottling the melancholy and adding pathos-laden Mentos until it erupts into a geyser of emotion, he applies the jaws of life to his audience, breaks open the collective chest cavity, steals your heart and tap dances all up on it. Read More

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Out in Theaters: ’31’

Rob Zombie‘s transition to the film world is, if nothing else, intriguing. After finding success uncharacteristic to the metal genre with band White Zombie, the metal rocker decided that basing album concepts off classic horror movies wasn’t cutting it. He wanted in on the game. By 1999, he had written an original script, The Crow: 2037,  but the project was abandoned for a variety of reasons. Instead Zombie paired with Universal Studios to make his horror house debut, House of 1000 Corpses and so began his bloodstained path to 31. Read More