Yesterday, the hacker group that brought Sony Pictures to its knees by perpetrating the largest corporate hack in history released a statement declaring if theaters exhibit the Seth Rogen, James Franco comedy The Interview, there will be a “9/11-style” attack on theaters across
I’m going to have to address this. I didn’t like Peter Jackson’s The Hobbit Trilogy. There, I said it. I didn’t like it. I hold The Lord of the Rings Trilogy in high regard and consider it the best trilogy I’ve ever witnessed. (While I love the original Star Wars trilogy, I had many issues with Return of the Jedi). I have nothing bad to say about any chapter in Jackson’s original trilogy. While this review is for the latest, and hopefully last, entry in the Middle Earth saga, my issues with the film cannot be addressed without mentioning from whence the source of my displeasure comes.
The full list of nominees for the 2014 Florida Film Critics Circle awards has been released, with Alejandro Gonzalez Iñárritu‘s Birdman nabbing eight noms, and Wes Anderson‘s The Grand Budapest Hotel in a close second with seven. The Best Picture nominees include Birdman,
Three new teaser posters have been revealed for the upcoming Chris Columbus-directed comedy Pixels, which revolves around a race of aliens who misinterpret retro video game signals as a declaration of war and decide to attack Earth using familiar video game properties. Based
The first trailer for Terrence Malick’s latest, Knight of Cups, has been released. The film stars Christian Bale, Cate Blanchett, Natalie Portman, Antonio Banderas, and Brian Dennehy, and although I’m not exactly sure what’s going on in this trailer, the visuals look absolutely amazing
Drafthouse Films has announced they’ve picked up the North American rights to the Western thriller The Keeping Room. The film is directed by Daniel Barber from the Black List script by Julia Hart. Brit Marling, Hailee Steinfeld, Muna Otaru, and Sam Worthington star.
Paul Thomas Anderson is one of American cinema’s youngest auteurs. He has a distinctive voice, yet each picture is diverse. With Inherent Vice, he creates an often absurdist comedy with plenty of dramatic events to spur the movie along.
I have had great difficulty reviewing this film because I so enjoyed earlier Anderson films like Boogie Nights and There Will Be Blood. But this film, as with his previous effort, The Master, left me shaking my head. Halfway through this film, I found myself referring to it as “Incoherent Vice” because there were too many storylines, none of which seemed to properly connect to one another. It is a fine effort on Anderson’s part and there are many of the usual Anderson touches present, but it did not connect with me the way his earlier films had.
If the world didn't already have enough low-angle close-ups of Christian Bale's thousand-yard stare, rejoice! Sir Ridley Scott's latest picture gives us another 154 minutes of them. Bale's steely, expressionless acting turns out to be a perfect match with Scott's steely, expressionless direction. Scott seems almost helpless to the tedium endemic to the plots of sword-and-sandal epics, a category whose resurgence Scott helped birth with Gladiator and whose shortcomings are epitomized by Exodus: Gods and Kings.
Chris Rock’s status as one of the best stand-ups of his generation, perhaps ever, isn’t in question. Thus far, however, his winning mixture of insightful social commentary and incising wit hasn’t translated to film. His previous directorial efforts (Head of State, I Think I Love My Wife) largely sacrificed the comedian’s observations for more standard slants, while his slumming with Adam Sandler in the Grown Ups movies is probably fun for them but definitely not for us. The quasi-autobiographical Top Five is the closest Rock has come yet to capturing his on-stage magic, and though the film is often funny, it’s also disorganized and broad in its judgments.
Marvel has released the official synopsis for its upcoming Ant-Man movie, as well as the full cast. The film, directed by Peyton Reed (The Break-up, Yes Man), stars Paul Rudd as Scott Lang aka Ant-Man, Evangeline Lilly as Hope Van Dyne, Corey Stoll
Atom Egoyan is trapped in a malaise that mirrors his usually weary protagonists. 20 years ago, the filmmaker reached the apex of his brand of analytical drama with The Sweet Hereafter, successfully mixing sober tragedy and dysfunction with a grim tone. Something’s been lost since his mid-90s heights, however. Earlier this year came Devil’s Knot, a forgettable take on the unforgettable West Memphis 3 case, which was also wholly unnecessary on the heels of the three fascinating Paradise Lost documentaries. Now comes The Captive, which encapsulates the decline from observant intensity to made-for-cable melodrama by starting as a gutting study of a horrific situation, only to weasel out of messy situations with convenient catharsis.