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Army Commercial ‘GUY RITCHIE’S THE COVENANT’ Fails to Explore Anything of Value

Guy Ritchie’s The Covenant, stylized as written, with the director’s name in the title, for reasons unknown, is the kind of movie that feels the needs to define what “covenant” means for its audience. This takes place not in the opening moments, but as a punctuation mark to the whole affair. As if the intended audiences is so unfamiliar with the dictionary that they don’t even understand the definition of a seventh-grade vocab word. And yet would still show up to see a movie called The Covenant. I’m sorry, Guy Ritchie’s The Covenant.* This fact becomes even more bewildering the more we dig into what this alleged “action-thriller” is actually about and what its apparent intention is. Read More

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SUNDANCE 2020: ‘RELIC’ and the True Horror of Senility

Relic, an old-folks-being-creepy offshoot of midnight squirmer, explores the true-to-life horrors of a matriarch’s deteriorating mental state. Dementia is scary enough before you add in family curses, labyrinthine structures, and ghouls under the bed and in her impressive debut, director Natalie Erika James filters her own traumatic experience confronting her grandmother’s Alzheimer’s through the prism of horror cinema, allowing for an emotionally rich and impressively eerie slice of dramatic horror that speaks to real-life terrors.  Read More

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Marital Fidelity Creaks in Powerfully-Acted ‘WILDLIFE’

Carey Mulligan has been confidently constructing a tasteful resume since her auspicious breakout in 2009’s An Education. She’s worked alongside Leonardo DiCaprio, Ryan Gosling, Michael Fassbender and under the lenses of the great Coen Brothers and Steve McQueen. But never has her light shined brighter than as an unfaithful wife in Paul Dano’s always low-broiling, sometimes crushing debut Wildlife. Read More

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Out in Theaters: ‘THE SISTERS BROTHERS’

Manifest destiny makes no promises of prosperity. Those seeking riches in the wild, wild west were treated to the same pittance of dumb luck and social hierarchy that they were long familiar in the eastern shores. What distinguished the far reaches of the American West in the mid-1800s was the fierce cascade of violence that hung over the land like a raging conflagration and the profit one could seek by exacting that violence. Bounty hunters and criminals pocked the far-flung towns, trading human lives for riches. This is where we meet The Sisters BrothersRead More

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Out in Theaters: ‘STRONGER’

Outside of the inclusion of a deadbeat protagonist, there’s not much to distinguish Stronger as a David Gordon Green effort. The director behind such mumblecore indie fare as Prince Avalanche and Joe (the former of which I detested, the later proved a borderline-excellent showcase for Nic Cage)  and comedy zingers the likes of Pineapple Express and the Kenny Powers-led Eastbound and Down (I’m a big enough fan of both) has decided to lens the Boston Marathon Bombing through the eyes of one of its victims and the result, though finely acted, is a mixed bag of emotional highs and lows at best and opportunistic at worst. Surely it’s not the shmuck bait of Charlie Sheen’s 9/11 but there is very little to justify its existence beyond Hollywood capitalizing on tragedy and you feel that in almost every second of Stronger.  Read More

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Out in Theaters: ‘LIFE’

Life is deja vu. Not life itself mind you – let’s say that debate for the existentialist philosophers – but Life, the hacky, trashy alien thriller from director Daniel Espinosa. From a distance, the trailers for the film suggested a film that borrowed heavily from Ridley Scott’s treasured Alien but we’re all smart enough to know that trailers are just marketing tools, often constructed to stimulate nostalgia nodules to sell a product to audiences. So imagine my shock when Life was quite literally nothing less than a watered-down, unimaginative, worthless thieving of one of my favorite films of all time. Seriously, how in the actual fuck is this happening? Let’s examine. Read More

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Out in Theaters: ‘NOCTURNAL ANIMALS’

In 2009, Austin, Texas native and noted fashion designer Tom Ford made his feature film debut with A Single Man. A delirious and stunningly photographed vision quest through loss and grief, A Single Man defined Ford as a filmmaker whose haute couture background greatly influenced his aesthetic and in turn his very process. Earning a Best Actor nomination for Colin Firth, A Single Man also established Ford as an actor’s director and helped in turn attract the likes of two of Hollywood’s finest, Jake Gyllenhaal and Amy Adams, for his latest feature, Nocturnal Animals. Read More

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Out in Theaters: ‘DEMOLITION’

Life has a tendency to zip forward on a single, amusement ride track until something or someone comes barreling out of the shadows of entropy to buck your stated momentum and set you serendipitously down a new path. 17th century physicist Isaac Newton described the phenomenon in which colliding forces impress upon one another an equal and opposite reaction in his famous Third Law, which describes both why someone struck by a moving vehicle would find their chest caved in and someone catching a bad edge going a cool 30 mph on decade old skis would find their wrist contorted in all kinds of wrong directions. Read More

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SXSW ’16 Review: ‘DEMOLITION’

Life has a tendency to zip forward on a single, amusement ride track until something or someone comes barreling out of the shadows of entropy to buck your stated momentum and set you serendipitously down a new path. 17th century physicist Isaac Newton described the phenomenon in which colliding forces impress upon one another an equal and opposite reaction in his famous Third Law, which describes both why someone struck by a moving vehicle would find their chest caved in and someone catching a bad edge going a cool 30 mph on decade old skis would find their wrist contorted in all kinds of wrong directions. Read More

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Out in Theaters: ‘EVEREST’

Human beings simply aren’t built to function at the cruising altitude of a 747. At 29,000 feet, you body is literally dying. Lack of oxygen becomes a toxic, poisoning the brain and forcing your body to shut down non-vital organs. At such heights, it’s near impossible to breathe without a tank of O. Beholding Everest on a proper IMAX screen, I too found myself gasping for air. It’s literally breathtaking. Read More