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Out in Theaters: VACATION

Harold Ramis took the family vacation movie off cruise-control in 1983, proffering a deliciously crass road trip film lead by an insolent (and borderline sociopathic) father figure in Chevy Chase and penned by none other than the mighty John Hughes. A sickly twist on nuclear morals and unadulterated, thoroughly punitive obsession, National Lampoon’s Vacation etched a dark twist on small town American dreams, couching the woes of extended family, the thirst for adventure and the troubles of enclosed spaces in with themes of adultery, abuse, abandonment and totally warped family values; with a corporate theme park ironically standing in as a last bastion of joy. Ramis’ was no small feat – he had crafted a thing of jet black social commentary that sang out with sharp barbs of comedy. Read More

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Out In Theaters: LUCKY STIFF

Lucky Stiff, from director Christopher Ashley, is a hard sell. It’s a dark comedic adaptation of an off-off broadway musical, from the creative team who would go on to create Ragtime. The musical numbers and between scene animations derail the normal slice-of-life grittiness that carries a lot of dark comedies, however, while the musical numbers are not intricate or tuneful enough to eradicate the criticisms usually leveled at musical theater. Critics of either dark comedies or musical theater should turn their attention elsewhere for an evening’s entertainment, as Lucky Stiff is unlikely to create new converts. But it is not without its charms. Read More

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Out in Theaters: BIG SIGNIFICANT THINGS

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Big Significant Things opens on what seems to be a big, significant thing: the “World’s Largest Cedar Bucket.” We first meet our protagonist as he gazes at the bucket with an expression of quiet awe, though already we can see a hint of desperation in the wideness of his eyes and his attempts to engage a local about the bucket’s history. Craig is a twenty-something guy in a serious relationship with Allison, who is in San Francisco picking out the home they plan to buy together; we come to find out that Craig is on his cross-country, “world’s largest”-sightings trip alone, though Allison believes he’s traveling for work. As we come to find out, he’s not just looking for the best American landmarks; he’s on a journey of last-chance freedom and self-discovery before settling down with his “perfect” girl.
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Out in Theaters: PAPER TOWNS

Paper Towns is as infantile as it is pointless; a sloppily rendered, paint-by-numbers filmic blunder that celebrates femininity and the free spirit without understanding either. It’s a glossy venture through teenagedom (emphasis on “dumb”) that both takes itself too seriously and is too fantastical and inconsequential to be taken seriously. As such, it simply fails to grasp anything of value, though its fingers remain greedily extended. Though acted with suitable gusto by its young cast, Paper Towns is the movie equivalent of a rambling troglodyte, spouting words and ideas without having much to say at all.   Read More

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Out in Theaters: UNEXPECTED

 Kris Swanberg gives a somewhat too conventional glimpse into unplanned pregnancy in Unexpected, co-written with Megan Mercier and Kris Williams. This marks Swanberg’s third feature film, and notably her first film with known actors and a budget that’s actually workable. While Swanberg said she wanted Unexpected to be a more realistic film, stripped of the usual comedy around unplanned pregnancy and the heightened melodrama of the environment of low income schools, the lack of both elements makes for a charming film of realism indeed, but one that’s too dramatically scarce.  Read More

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Out in Theaters: SOUTHPAW

It’s been since 2001’s Training Day that Antoine Fuqua has delivered a true knockout. Southpaw is no exception. The Pittsburg-born director has faced no challenges scraping together talent; amassing casts and crews that regularly featured A-listers at the top of their game, screenwriters on the fast track to success, composers in highest demand. He also hasn’t been treated to a movie falling on the fresh side of the spectrum since 2001. Sure, The Equalizer eeked by on Denzel Washington’s cool, collected killing spree antics but critics (and audiences) knew that Fuqua’s product was less than perfect. And this gets us to Southpaw, a film that’s definitively less than perfect. Read More

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Out in Theaters: PIXELS

Adam Sandler has been candid about his lack of effort in projects of late. Last year on Jimmy Kimmel Live, he admitted that he chooses projects based primarily on location. Meaning, he takes his paycheck and his vacation and all he’s gotta do is tug on the lever that makes the Happy Madison assembly line run. A nerd joke here, a woman joke there. A dash of silly voices. Fat man slamming into something. Voilà! You’ve got yourself a Sandler movie. Read More

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TRUE DETECTIVE Season 2 Episode 5 “Other Lives”

As the first season dictates, crime predestines characters into its fold; their adopted second selves aren’t themselves, and the inevitability of the crime’s determinism has approached. In season one, after they ostensibly solved the crime, we saw Rust and Marty’s interlude draw out seemingly grounded as repaired people then pulled back into the crime’s undertow as they re-disintegrated. We only experienced a blip in this season, not even an episode, as this iteration re-awakens half way through.

And like the first season, the bad men seem amorphous, but there’s always one face formed of many like a mosaic from a distance, one singular expression–and it will reach for everything inside of them–at least, that’s what I’ve been hoping for. With three more episodes left, this dark experiment has a chance for redemption to have its potential culminate in entirety. To pull it off, every character needs to be at the end of themselves and turn back as they face new lengths in human amorality.

Post shoot-out mortem, a new stasis with new self has settled in. The investigation’s been shut down by State Attorney General Geldof, pinning Caspere’s murder on Amarilla from the Mexican outfit–and, strangely announcing his run for governor.

ep13-ss06-1920Thus, Velcoro evades his conscience by dropping the good-cop, bad-cop posture and fully commits to ambiguity by becoming a private investigator while still holding enforcer title with Frank in the midst of an ongoing custody battle; Bez is demoted to the sheriff’s office evidence lock up while pursuing Vera’s disappearance on her own timetable; Woodrugh is promoted to detective but withdrawn from the field to insurance fraud while facing extortion from Lindel; Jordan questions Franks recidivist business practices as the only way out.

But all of the character’s now independent lives and investigations evolve to one focal point of conspiracy. Frank orders Velcoro to snoop on Blake when he discovers him trafficking Frank’s prostitutes to his adversary Osip at a clinic with Pitlor and Tony present. The story takes a hard turn when Bez finds a political connection to Caspere’s hotsheet pawned blue diamonds. With plenty of evidence on the table, state investigator Davis reopens the investigation incognito. Davis wants evidence of collusion between Chessani’s political machine and the state attorney general’s chest full of campaign money–thus, no surprise to Velcoro that the state’s investigation was smoke and mirrors. Woodrugh and Bez match Caspere’s former movements to an a rural abandoned commune fitted with a bloodied sexual dungeon. Velcoro bitch slaps Pitlor around when he spits up old business between Caspere and Chessani involving escorts and real estate deals–all filmed and kept in Caspere’s pilfered hard drive to blackmail influential guests if threatened.

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While Frank has Velcoro by the strings, he attempts to leverage his former place into the corridor by blackmailing a business associate who now operates the development company that holds the land to be bought by the government. He was complicit with Frank and his former waste company in dumping contaminants on the farmland that Bez and Woodrugh discovered to lower its purchase value for the railway. But the person whom Frank then sold it to had his life tampered with involving a car that never ends well with a cliff. Frank is given a quid pro quo back into the corridor if he finds Caspere’s stolen hard drive inspired by cinema verite–this same associate that attended the escort parties Pitlor divulged to Velcoro.

As Velcoro confronts Davis about his grit, another self is revealed. Davis tells him his wife’s rapist was forensically affirmed a few weeks ago–a different lead than what Frank lured him into. As Frank holds Jordan after thinking about selling their stakes and starting over, he looks up at the ceiling and says, “No more water stains.” The dark eyes have closed for the moment.

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For prior Silver Screen Riot True Detective coverage, find archive reviews below:

TRUE DETECTIVE Season 2 Episode 1 Review “The Western Book of the Dead”
TRUE DETECTIVE Season 2 Episode 2 Review “Night Finds You”
TRUE DETECTIVE Season 2 Episode 3 Review “Maybe Tomorrow”
TRUE DETECTIVE Season 2 Episode 4 Review “Down Will Come”

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Out in Theaters: TRAINWRECK

*This is a reprint of our 2015 SXSW review

Take it from the effervescently crass mouth of Amy Schumer, “The title was always Trainwreck. Trainwreck or Cum Dumpster.” Oh Amy, you are such just so…you. From talk radio appearances to gross-out Twitter posts, the Schum has crafted her image on being unapologetically, oh-so-adorably crude and in the context of Trainwreck, it’s miraculous to take in. At last night’s premiere, when an audience member inundated her with compliments, she barked, “Stop trying to fuck me.” She has swiftly become the epitome of 21st century feminism-as-middle finger; the crème de la crème of vagina jokes and reverse slut shaming that will melt the lipstick off housewives and zap the calories off your finger sandwiches with her gloriously nasty one-liners and hysterically sexual non-sequiturs. Read More

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Out in Theaters: THE STANFORD PRISON EXPERIMENT

*This is a reprint of our 2015 Sundance review.

Things came in twos at this year’s Sundance Film Festival with a pair of Cobie Smulders’ features competing against one another for the Dramatic Competition prize, a set of unexpected pregnancy comedy/dramas, Tye Sheridans (who actually was showcased in three films: Last Days in the Desert, Entertainment and this film we’re in the midst of reviewing) and, most notably, a duo of 1960-70s social psychology experiment films. One of which, The Experimenter told the story of Stanley Milgram, administer of increasing electrical shocks and student of peer pressure. The feature starred Peter Sarsgaard and was met with middling reviews. Read More