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
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: ‘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: ‘HIGH-RISE’
In 2011, Ben Wheatley proffered one of the horror genre’s best new finds in Kill List. In this sophomore feature, Wheatley showed a fierce command of the film medium, creating a dizzying religious parable set among a world of violent crime and ethereal justice with dreamlike sadistic cults operating levers best left unmolested. And though Kill List fit most easily into the horrorscape because of its acrid use of bloodshed and razor wire tension, it also established a director predominantly preoccupied with splicing genres together. He did so again with 2012’s brilliant black comedy Sightseers, blending elements of horror and dark English satire, and once more in 2013’s wildly experimental, black and white historical drama/“horror” film A Field in England, though to lesser effect. Read More
Out in Theaters: ‘KEANU’
When Key & Peele premiered in 2012 on Comedy Central, it was as close to an overnight success as any sober TV producer could hope for. The sketch comedy show that covered anything from pop-culture fandom to racial relationships, all with unprecedentedly competent production value, found even more love on YouTube where many of their brief sketches ratcheted up views in the millions. From their jocular takedown of the Obama administration to nonsensical athlete names to 80s aerobic videos, there were few rocks left unturned and a remarkable percentage of hits to misses. When the show took its bow in September of 2015, fans were predictably heartbroken to see the righteous comic duo come to an end. If Keanu is proof of one thing and one thing only, it’s at the very essence of Key & Peele will live on so long as Keegan-Michael Key and Jordan Peele continue to collaborate in any way shape or form. And that my friends is a fact worth celebrating. Read More
Out in Theaters: ‘SING STREET’
Sing Street is that rare film that manages to be good to its core. Like Ward Cleaver teaching Wally and Beaver an important life lesson good. Or finding someone’s billfold on the beach and mailing it to them good. Neil Young crooning “Heart of Gold” good. Snuggling a 6-week old puppy good. Pure dictionary definition good. Omnibenevolence bleeds from the very pores of John Carney’s latest singing sensation to create a sharp-tongued crowdpleaser positively dripping with wit and charm that results in an unimpeachably winning film sure to elicit tears and laughs in equal measure. That it’s also a whipsmart, droll and overwhelmingly heartfelt coming-of-age film brimming with 80s nostalgia and upbeat tuneage drives it the extra mile. Read More
Out in Theaters: ‘A HOLOGRAM FOR THE KING’
Tom Hank’s everyman charisma can’t save Tom Tyker’s laborious fish out of water romantic drama A Hologram for the King. That the plot doesn’t extent far beyond a man waiting for a meeting – an uphill battle of a dramatic thrust if there ever was one – isn’t necessary narrative nightshade though Tyker’s lackadaisical Tilt-A-Whirl approach to storytelling may just be. With a backbone that lacks pizazz, and often settles on a cursory examination of midlife existential crisis through the lens of cultural alienation, and a directorial style that tends towards unfocused arcs and uneven pacing, Tom Hanks proves a saving grace as a down-on-his-luck moral guide. With Hanks, we are admittedly in good hands but Tyker fails to make the frame swirling around him pop to any degree worth remaking upon. Read More
Out in Theaters: ‘GREEN ROOM’
Hot from the critical heralding of Blue Ruin, Jeremy Saulnier returns to the world of white trash and movies with colors in their title with Green Room. An ultraviolet fantasy of viscus and vengeance, Green Room is as unapologetic as a Misfits album, as dead-serious as a KKK rally and as boastfully savage as a scalping. Characters find themselves torn to kibble by attack dogs, slashed to crimson ropes by box cutters and blasted in the face at point blank range with shotguns. Read More