In Whit Stillman’s sprightly and effervescently comical Love & Friendship, the Victorian era gets an uproarious facelift. Based on Jane Austen’s novella ‘Lady Susan’ (but going by the moniker of yet another Austen title), Love & Friendship is a frilly costume drama plump with acidic joviality and atypically boiling over with meaty guffaws. For those who typically avoid hifalutin, period piece fare, which Stillman’s picture appears to be from an arm’s length, expect to rather entreat with a tongue-in-cheek send up; a welcome vacation from formality and frivolity. His one-of-kind character piece is injected with barbed zingers, sharp witticisms and a tangy, irreverent touch, like a creampuff fluffed full with key lime paste but still absolutely delicious. Read More
Out in Theaters: ‘LOVE & FRIENDSHIP’
Out in Theaters: ‘THE NICE GUYS’
Shane Black has been defining and redefining the buddy cop movie since 1987, a year that saw his script for Lethal Weapon green lit under the tutelage of director Richard Donner. It took Black almost 20 years to step behind the directorial chair himself, debuting Kiss Kiss Bang Bang in 2005 and bringing along with him the rebirth of the buddy cop flick and the resurgence of Robert Downey Jr’s career. Now another decade on, Black has returned to the sub-genre that he – like some primordial catalyzing agent – helped evolve throughout the years to present The Nice Guys, 2016’s fly-in-the-face-of-tradition response to the 21st century buddy cop crisis. Read More
Talking with Robert Eggers of ‘THE WITCH’
Robert Eggers‘ first trip to Sundance was rewarded with a little thing called the Best Director award. Since then, he’s seen his New England-based independent horror film soar, earning a fervent critical backing and loads of support. But not everything has been roses. I chatted with the first-time director to discuss the years-long journey of making and releasing The Witch, the current state of horror movies, religious zealotry and the history of American witchcraft, the modern equivalent of witches, working with children actors to elicit believable performances, and how to deal with negative reactions to the film. Read More
‘THE WITCH’ Blu-Ray Review
Synopsis: “In 1630 New England, panic and despair envelops a farmer (Ralph Ineson), his wife (Kate Dickie) and four of their children when youngest son Samuel suddenly vanishes. The family blames Thomasin (Anya Taylor-Joy), the oldest daughter who was watching the boy at the time of his disappearance. With suspicion and paranoia mounting, twin siblings Mercy (Ellie Grainger) and Jonas (Lucas Dawson) suspect Thomasin of witchcraft, testing the clan’s faith, loyalty and love to one another.” Read More
Electrifying Horror Film ‘DON’T BREATHE’ Drops First Trailer
My favorite film out of SXSW 2016 was Fede Alvarez‘s unceasingly tense Don’t Breathe. I was so frequently startled, so genuinely unnerved that it physically hurt. And my god do I love that kind of pain. Call it what you will (masochism?) but horror films have the ability to engage sections of the brain that no other film can and Don’t Breathe is expert at doing just that. Part of my experience may have been going in with no expectations, knowing not a lick of info on what the film was about (or even called for that matter) but the fact remains that Alvarez has crafted a masterstroke of American horror cinema with his follow up to Evil Dead. Read More
Out in Theaters: ‘MONEY MONSTER’
From breaking out as a teenage prostitute in Martin Scorsese’s seminal Taxi Driver to becoming a household name to snatching a pair of Academy Awards to her semi-retirement from acting to focus on directing, Jodie Foster’s career has seen many evolutions. As a director, The Silence of the Lambs actress has sharpened her craft exponentially over the years, veering from such trite family-friendly material as Little Man Tate and Home for the Holidays to more adult-oriented material such as Mel Gibson-starring drama The Beaver, itself a horrendous victim of terrible timing. Her latest feature is another confident step forward, its incisive themes and hard-R sensibilities informed by her tenure as a guest director for Netflix’s two biggest and most mature hits: House of Cards and Orange is the New Black. With Money Monster, Foster finally sheds the skin of an actress experimenting with the format and actualizes as an genuine director of note. Read More
Out in Theaters: ‘LAST DAYS IN THE DESERT’
Director Rodrigo García claimed two themes interested him most in his articulation of Jesus’ untold 40 day fast in the desert. The first: the primordial idea of how a boy becomes a man, a step that Garcia contents happens “with or without his father’s help of permission.” The second theme surrounds the notion of creationism, both in a spiritual and storyteller’s sense. García himself underwent a creation process in the construction of Last Days in the Desert, weaving a fictitious narrative out of a notable absence in Jesus’ origin story – only mentioned in passing in the Gospels but entirely bereft of detail. This absence of a story drew García to the project, offering him an entrance into a narrative that felt to him inspired, fresh and wildly important. Read More
Out in Theaters: ‘X-MEN: APOCALYPSE’
“Everyone knows the third one is always the worst,” a young Jean Grey (Game of Throne’s Sophie Turner) ironically reports, exiting a 1983 screening of Return of the Jedi. She’s right of course: Jedi is the lesser of the original Star Wars trilogy. But to her larger point: the culmination of trilogies often results in some degree of disappointment, sometimes even sullying the good name of that whence came before it. Take Godfather: Part III, The Dark Knight Rises, The Matrix Revolutions, Spiderman 3, Pirates of the Caribbean: At World’s End, ALIEN3, Mad Max Beyond the Thunderdome, Terminator: Rise of the Machines and of course, Brett Ratner’s quite bad X-Men: The Last Stand. Jean’s remark, planted as it is in what is the third film of this newfangled X-Men trilogy, is meant to be tongue-in-cheek, perhaps both a potshot at Ratner’s derided 2006 entry to the franchise and a preemptive snarky parlay to the film’s inevitable detractors, because believe me when I say, X-Men: Apocalypse proves Jean Grey’s point. Read More
Out in Theaters: ‘MEN & CHICKEN’
Ribald exploration of men’s darkest instincts left unhampered by societal norms, Men & Chicken is a hybrid of dark Danish comedy and twisted social science experiment. Operating much like H.G. Wells’ three-time adapted novel “The Island of Dr. Moreau”, this twisted import from Anders Thomas Jensen tangles elements of slapstick physical comedy among chilling social horrors to create a psychosexual mystery circling the inescapable ideas of heritage and homecoming. Read More
Out in Theaters: ‘CAPTAIN AMERICA: CIVIL WAR’
Ever since Samuel L. Jackson cropped up in an eye patch in Iron Man’s post-credits, Marvel films have had their eye firmly planted on the future. Setting up incoming installments has been a precarious process, resulting in such face-palmingly clunky sequences as the infamous “Thor in a Bath Tub” scene and the entirety of Iron Man 2. When not preoccupied with teasing the oncoming comic strata or hogtying in easter eggs for uber-nerds to dissect and debate, Marvel has admittedly done fine work developing their roster of heroes, taking careful stock in ensuring that its non-comic reading audience has at the bare minimum a working sense of what drives these supers to strap into spandex and save the world. With Captain America: Civil War, a direct sequel to the events of Captain America: Winter Solider that employs nearly the entirety of The Avengers, those characters turn to the rear view to take stock of what has been lost along the way. Read More