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Quirky ‘PROBLEMISTA’ Aspires to Make America Artistic Again

El Salvador native Julio Torres, a former SNL writer described as a comic surrealist, injects every single quirky ounce of his personality into Problemista. The experimental indie film financed by A24 explores the dual struggle of an aspiring toymaker and his labyrinthine journey to navigate the American immigration system. Working from a script that he wrote, Torres directs, produces, and stars, making this a singular effort that’s bursting with Torres’ at times crude, often surrealistic, and always a little off-kilter sensibilities. For those operating on his wavelength, Problemista will be an original breathe of fresh air, a new creative voice projecting itself boldly into the cinesphere with Torres’ lispy monotone. His style being a decidedly acquired taste, those who don’t vibe with his unique approach to the dramedy genre however will find this to be a rather long and taxing watch. 

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‘THREE THOUSAND YEARS OF LONGING’ and the Problem of Story Telling as Storytelling

All You Need Is Love

First and foremost, Three Thousand Years of Longing is a story about stories. The history of stories, the way in which we tell stories, and the generational impact of those stories. How stories make us feel, make us yearn, make us swoon, make us fundamentally who we are. How stories become passed down from generation to generation and find themselves colored by those telling them. Where is the intersection of truth and stories? And how much can we expect our narrators to be bastions of truth? Further, the film probes how the stories we tell ourselves and others about who we are become self-fulfilling prophecies. Essentially – how autobiography can trap their tellers, ensnaring them within a cycle of lying about who or what they truly are. It’s a shame then that the least successful aspect of this particular yarn is the way that it unspools its story. Read More

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‘THE FRENCH DISPATCH’ Is An Inaccessible Patchwork of Withering Pretension

Structured like a New Yorker zine and just as wryly smug and pandering to the self-proclaimed intelligentsia, The French Dispatch is an ego-driven misfire for visionary director Wes Anderson who has done little more than projectile vomit his signature quirk on the screen in thick gobs, forgetting to actually make a movie along the way. Read More

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Murray, Chalamet, McDormand, Swinton, Moss, and Many Many More Assemble for Wes Anderson’s ‘THE FRENCH DISPATCH’ Trailer

Bill Murray, Adrien Brody, Edward Norton, Willem Dafoe, Saoirse Ronan, Saoirse Ronan, Jason Schwartzman, Timothee Chalamet, Frances McDormand, Benecio del Toro, Bob Balaban, Jeff Goldblum, Elisabeth Moss, Tilda Swinton, Lea Seydoux, Owen Wilson, Henry Winkler, Rupert Friend,  Jeffrey Wright, Tony Revolori. When you have Wes Anderson behind the camera, you know the cast is gonna be God-status but my lord is The French Dispatch absolutely stacked. This could quite honestly go down in history as one of the very best casts in history and they’ve joined Anderson to tell the tale of a fictional American newspaper in a fictional French city. Read More

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SIFF ’19: Zom-Com ’THE DEAD DON’T DIE’ Is Stiff Attempt at Satire

As if struck with rigor mortis, Jim Jarmusch’s take on zombies is a DOA satire of sorts, one that’s much too self-aware for its own good. Foregoing the traditional scares of an undead creeper, Jarmusch swings and misses trying to put the “dead” in deadpan comedy. Even his pairing of stars Adam Driver and Bill Murray remains something that sounds better on paper than actually works in this context, their synchronized low-energy, unfazed drift through the world of the undead unable to get much of a rise. Read More

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Out in Theaters: ‘DOCTOR STRANGE’

With Doctor Strange, Marvel pries open a doorway to a new realm, one filled with magic and mysticism, dark dimensions and malevolent deities. Filled with heady three-dimensional visuals and eye-bulging psychedelic set pieces, Doctor Strange fulfills the promise of its inspired marketing push. That is, it is as close as Marvel has come to being Inception on crack. And let me assure you, that is a good thing. Led by a game Benedict Cumberbatch playing on type as a smarmy elite member of the intelligentsia, Doctor Strange nonetheless suffers the Marvel formula, the “portal problem” and yet another utterly disposable single serving villain. Read More

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Out in Theaters: ‘HAIL, CAESAR!’

The Coen BrothersHail, Caesar! exists in some zany cinematic purgatory of indecisiveness. Their critique of 1950s Hollywood dwells in an occasionally bemusing middle ground; that is, it can’t decide whether it wants to be a skewering of or a love letter to the golden era of tinsel town. Those who’ve found solace in the bewilderingly esoteric arms of A Serious Man or the bombast of The Hudsucker Proxy will likely concede Hail, Caesar! as a new coming for the seriocomic duo but I like my Coen’s like I like my coffee and Hail, Caesar!’s semi-satirical goofball makeup couldn’t be further from the blackest of comedy that defines the brothers’ greatest ventures. Read More

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Channing Tatum is a Merry Sailor in Trailer for Coen Bro’s ‘HAIL, CAESAR!’

Have you ever wondered what Channing Tatum would look like in a little sailors outfit? Wonder no more. The trailer for Hail, Caesar!, the newest comedy from Joel and Ethan Coen, has arrived and it looks nothing short of glorious (and features Tatum dressed oh-so-preciously) . Hail, Caesar! tells the story of a tentpole movie production halted when its leading man (George Clooney) is kidnapped and held for ransom. The sure-to-be winning picture is brimming with talent; in addition to Tatum and Clooney, Josh Brolin, Tilda Swinton, Scarlett Johansson, Ralph Fiennes, Jonah Hill and Frances McDormand are set to star with cinematography provided by all-star DP Roger Deakins. Read More

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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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SXSW Review: TRAINWRECK

trainwreck-amy-schumer-bill-hader-judd-apatow-001.jpg
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