The horror film genre is so full of dumb teenagers making bad decisions one could all but populate a second planet (or country) with their low-grade stock. However The Gallows — yet another entry into the extensive found footage feature collection– may contain the dumbest teens of any horror movie. They’re massively dumb, completely unlikable and thin as tracing paper. They may as well be wearing big, bright neon signs that read: “Here I am! Kill me now!” Although, the movie itself—written and directed by Travis Cluff and Chris Lofing—isn’t much smarter. Read More
Documentary Dossier: AMY
Early on in the documentary Amy, Nick Shymansky, friend and one-time manager of the titular soul singer, reflects upon a time before her fame when she was very nearly forced into rehab. There’s a sorrowful, what if tone to his recollection, as he imagines that just maybe if she had been treated for alcoholism before fame took hold of her life, things could have been different. Read More
Out in Theaters: THE SUICIDE THEORY
A well-written and excellently executed script can buoy an isolated cliché. As The Suicide Theory embodies neither of these traits, it hits an iceberg early on with multiple turns of the phrase “Do you believe in fate?” and manages to sink rather rapidly. Read More
Out in Theaters: TERMINATOR: GENISYS
Terminator: Genisys, or How to Waste 170 Million Dollars, is a righteously obsolete sequel; a feckless manure cache more dedicated to nostalgia as computer animated gimmick, patchy, gravity-ignorant FX and slinky-esque “gotcha!” twists than little things like plot, internal consistency and character development. To call Terminator: Not a Word a failure would be to acknowledge that it even tried to succeed in the first place. And let’s be honest here, Terminator 5 tried not. Read More
Out in Theaters: MAGIC MIKE XXL
In 2012, Steven Soderbergh accomplished the impossible by making audiences – made up of various chromosome compositions – fall in love with a ragtag scrap of male strippers. Magic Mike not only dominated the box office – netting north of 113 million dollars domestically on a 7 million dollar production budget – but won the hearts and minds of critics, who rewarded the film with a 80% Rotten Tomato score. All signs pointed swiftly towards the birth of a new franchise centered around denuding men with real world issues. Women (and some men) rejoiced; ’twas raining men. Read More
TRUE DETECTIVE Season 2 Episode 2 Review “Night Finds You”
The town of DaVinci looks like it’s day, but it’s really night–in other words, it was born in the darkness as it tries for the light. The first scene’s cold tint hangs over like the pallor of a corpse–literally, as Semyon’s (Vince Vaughn) introspection match cuts to Caspere’s melted eyes. Semyon’s abuse story isn’t just significant as a character piece, it’s the unfolding of what’s to come. Read More
Out in Theaters: TED 2
Prepare for weed jokes, hairy sight gags, unbridled misogyny, celebrity cameos, unchecked homophobia, Goose Island product placement, wiener jokes, sperm jokes, boob jokes, period jokes, Bud Lite product placement, lame-brained pop culture references, more weed jokes, mean-spirited black people jokes, more Goose Island product placement, slut shaming, nerd lampooning, Boston jokes, ASU jokes, and a near gleeful amount of hate because Ted 2, the somehow anticipated sequel to 2011’s near awful foul-mouthed CG teddy bear buddy comedy, is finally here. It is also, without a doubt, the worst film of the year. Read More
Out in Theaters: CREEP
Documentary Dossier: FRESH DRESSED
Sacha Jenkins’ directorial debut examines fashion in hip hop as a means of freedom of individual expression and aspiration, as well as a mechanism of mass social control. It gives some insight into why a song that incessantly chants “Versace” for four minutes can clock over 12 million views on Vevo, when really (to quote Dr. Kanye West) “you not affording Versace”. None of us are. Read More
Out in Theaters: A LITTLE CHAOS
True to its title, not much in the way of chaos occurs in Alan Rickman’s sophomore directorial effort. In fact, most of the time affairs are the exact opposite of chaotic. Instead it’s a modest well-mannered period piece, taking part in the action of Versailles, France, 1628. It’s technically proficient – as most period pieces are – and the performances are solid across the board, though nothing outstanding. Rickman directs with competence but on the whole A Little Chaos is instantly forgettable—marked by a feeling of slightness and opting to pursue the safest routes for predictable romantic dramas. Read More