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Out in Theaters: NO ESCAPE

Originally packaged with a much more apt title (The Coup), the ambiguously-named No Escape is still the second surprise thriller of the summer (the first being the shockingly excellent The Gift). John Erick Dowdle, who delivered the monstrously underrated As Above/So Below last year, again proves his knack for preeminently nail-biting sequences with a 103-minute zombie feature that replaces said zombies with radicalized “Asians”. Whereas zombies lack motive, the bloodthirsty nature of the enemy in No Escape is their defining feature and makes for antagonists who are thinly drawn but hugely imposing. Moments of cliche are all but drown out by the overwhelming panic at the heart of the film, a film that manages to tap into the epicenter of terror – having your family hacked to pieces in front of your eyes. It is, in three words: intense as f*ck. Read More

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FEAR THE WALKING DEAD, Episode 1 ‘Pilot’ Recap/Review

“What the hell is going on?” – Madison

“I have no idea.” – Travis

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Imagine waking up in some unfamiliar place, dazed and disoriented. You stumble downstairs to a charnel house of cadavers, finding one of your good friends chewing off another friend’s face. What would you do? This cognitive dissonance, this mammalian panic terror is the core of what makes Fear The Walking Dead so deadly effective, as well as what separates it from its mothership. Read More

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Documentary Dossier: LISTEN TO ME MARLON


Listen to Me Marlon
opens to an analog recording of Marlon Brando contemplating the future of movies with a crude CG rendering of his face, now aged, as his mouth moves to the words spoken: words that express his synthetic representation in a place where he feels nothing is real. The tape is titled “Self-hypnosis.” One, among bags filled with hundreds of others, is Brando’s self-diagnostic foray into inner solitude, an intimate voice with rich precedence naked for the first time. The audio recordings contain his ruminations, self-reflections, observations, and personal confessions, which are spread out over a multi-textured pastiche culled together with the cooperation of the Brando estate. Read More

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Out in Theaters: AMERICAN ULTRA

Everybody knows that smoking weed can make you paranoid. And anybody who’s spent much time in Cannabis Culture probably knows that guy, who spends too much time getting high, drawing weird comics and spouting weird theories. But what if those weird, paranoid theories turned out to be true? This is the premise around which Nima Nourizadeh‘s unlikely new stoner/action/comedy/romance American Ultra is built, and ultimately succeeds. Read More

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Out in Theaters: 6 YEARS

*This is a reprint of our SXSW 2015 review.

In the throes of first love, life becomes exasperatingly disoriented. We convince ourselves that there is but one person who can appreciate, understand and care for us and that that person should not be let go, lest we never experience such a sensation of belonging again. Future aspirations come to head with plans of fidelity and the person you are and the person you want to become begin to be at odds. With 6 Years, Hannah Fidell is able to poke her camera into the epicenter of a relationship at the structural crossroads of graduating from college as they differentiate the needs of the “me” versus the needs of the “us”. Read More

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Documentary Dossier: BEST OF ENEMIES

Best of Enemies gives a gripping account of the momentous ideological clash between William F. Buckley Jr. and Gore Vidal during the 1968 presidential primaries. In a bid for ratings, ABC (widely considered the “budget car rental of television news”) pitted conservative political commentator Buckley against Vidal, the creator of transsexual literary icon Myra Breckinridge and the one person (bar all communists) whom Buckley had sworn never to appear on screen with. Read More

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Out in Theaters: MISTRESS AMERICA

Noah Baumbach again arrives in auspicious fashion, delivering a fast-talking farcical bumblebee of a film whose honey is sweet and sting is bruising. It’s as much a diatribe about the fickle nature of youth as it is a pure slapstick comedy, featuring a humdinger of a hipster prophet in the form of a footloose Greta Gerwig. Baumbach’s latest is also decidedly his lightest, opting for a kind of 21st century update to the surrealist verisimilitude of “I Love Lucy” or a feminist take on “The Three Stooges” – that is, it’s his brand of “But ours goes to 11” absurd. Everything he and his characters touch upon is based in reality – on someone, on something, on somewhere – but is forcefully exaggerated in its screwy presentation. As such, Mistress America has allowed Baumbach and Gerwig to craft modern day archetypes – the awkwardly desirable nerd, the college-bound tabula rasa, the hipster goddess – and mock them to high heavens in pure unapologetically absurdist manner. Read More

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Documentary Dossier: MERU

“Everest is for f*cking p*ssies, man.” Not an actual quote from the film, but it might be a good one for you to slip in at the next kickback when the conversation inevitably shifts to what documentaries you and your significant other have been watching on Netflix and what you think of the new season of HBO’s (fill in the blank). Meru is about serious climber bros, dudes who casually remark they’ve been to the top of Everest “four or five times” and one of them has even “skied off the top of Everest.” Hell, when you weekend warriors climb Everest “you can hire Sherpas to take most of the risks.” (And those are actual quotes.) Read More

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Out in Theaters: FORT TILDEN

*This is a reprint of our SXSW 2014 review.

Remember when tying your shoes was an impossible chore? When you could only get places at the discretion of your mom’s minivan? When you didn’t know how to cook yourself a meal so you relied on someone else’s feeding hand so that you wouldn’t starve? These, among others, are lessons that Fort Tilden‘s anti-heroines never seemed to learn. Read More

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Out in Theaters: STRAIGHT OUTTA COMPTON

F. Gary Gray’s blimp rose alongside Ice Cube. In 1992, he directed Cube’s “It Was a Good Day” before directing the rapper-turned-actor’s cinematic debut Friday. He went on to carve a real name for himself at a ripe young age directing music videos for other black artists including Ice Cube homeboy and N.W.A. group member Dr. Dre, Tupac, Jay-Z and hip-hop supergroups Cypress Hill, TLC and Outkast. In 2003, Gray blew up the box office with a retelling of The Italian Job while his last film, Law Abiding Citizen, more blew up in his face. 6 years on, Gray has returned to Hollywood to aid in telling the tale of hip-hop superstar group N.W.A. (we’ll go by the innocent ignorance of Jerry Heller and pretend that’s the abbreviation for “No Whites Allowed) with Straight Outta Compton. Read More