At the center of Joanna Arnow’s short, Bad at Dancing, which she wrote, directed and edited, is an unhealthy relationship between two roommates - Joanna (also Arnow) and Isabel (Eleanore Pienta). Or, it may be completely healthy, who is to judge...besides, perhaps, Isabel’s boyfriend, Matt (Keith Poulson), who is growing increasingly uncomfortable with Joanna’s penchant for inserting herself into his relationship with Isabel, typically when the two of them are trying to have sex. Which appears to be the most opportune time for Joanna to discuss any a number of subject revolving around herself with her best friend; obviously, the opposite is true for Isabel and Matt.
All things familiar, yet all things becoming increasingly sinister, Clark seems to have crafted a sci-fi horror/mystery film with no real, concrete horror elements. Instead, inundating the storyline with plenty of mystery, mystery piled atop mystery. A straightforward narrative film stalked and accosted by the experimental with Clark’s experimental imagery insinuating a cinematic approximation of the metaphysical as flashes of light cycle chaotic, reasoning and context seemingly lost in its rapid shuffle, abstraction deployed as the narrative catalyst.
It’s hard to know what to say about Going in Style because it’s a movie that wishes to bother you as little as possible. Want a couple of mildly wacky heists? Medium-rare banter between three great actors and a fairly committed supporting cast? Obstacles but not too many obstacles? Zach Braff has got your back.
The first standalone Star Wars spinoff film, Rogue One: A Star Wars Story, has now been released on Blu-ray, and Disney has pulled out all the stops in delivering an exceptional home viewing experience of Gareth Edwards’ harrowing entry in one of the most iconic film franchises ever.
Ghost in the Shell is beautiful to look at, its nameless Asian city resembling Blade Runner’s dystopian future Los Angeles complete with even more, and larger, holographic advertisements cutting though the dreary concrete landscape. What’s missing in the milieu are a heart, soul, and brain – even though all of those things are constantly mentioned as integral to the imitative narrative.
The bizarre tale of a woman’s body found in a New Hampshire farmhouse and the search to understand what led to her death is an intriguing premise. Not a murder, not a suicide, the passing of Linda Bishop was a result of, remarkably, both her incredible optimism and then her crippling fear of the outside world, brought on by her delusions.
Offering unbelievable insight into the mind of Bishop in her final days, a pair of notebooks left in the farmhouse detail her thoughts as she examines the world through its windows. Directors Todd and Jedd Wider weave together shots of the home’s interior and exteriors with interviews with friends and family as they tell the story of Linda Bishop — her early life and her final days.
If you are looking for one of the best comedic directors working today then look no further than Christopher Good. His debut feature, Mudjackin’, from 2013 happens to be one of the best comedies to come out within the last decade and after spending the last three years mainly directing music videos, for various acts like PWR BTTM, Jens Lekman, and Strand of Oaks, he is back with yet another comedic offering bursting with creativity.
Olga Hepnarová was the last woman to be executed in Czechoslovakia back in 1975, convicted of murder after she deliberately drove a truck onto the sidewalk, running over several citizens that happened to be waiting for the tram. Eight people died, twelve people were injured. Kazda and Weinreb’s film, I, Olga Hepnarová, is based on this true story and utilizes the real-life writings of the condemned. With that, an immediate question arises - why and for what purpose?
There is nothing fancy about Bloomin Mud Shuffle, the latest from writer/director Frank V. Ross. No high concept or high drama; there is no sensationalizing the alcoholism and depression that is set in at the core of the narrative’s fabric. It is stripped of adornments and embellishments, stripped down into glimpses of a life not overtly suffering from these issues but more so continuing in spite of these issues. It is not flashy because there is no reason for Ross to employ flash considering the way in which he is able to quietly mine genuine emotion from day-to-day minutiae of life.
Sci-fi thriller Life halfheartedly goes through the motions of a monster in space movie, failing to raise any intriguing existential questions or validate the gory mayhem. A bunch of really smart people float around and do really stupid things, each of them speaking fluent exposition and sporting the thinnest of character traits. Their Martian antagonist is even less interesting.
We’ve all wondered, at least for a moment, what we would do if we were the only person on Earth. Would we explore the remains of society, hole up in shelter or simply bask in the planet’s daunting silence? It’s a fun question and one that writer-director duo Geoffrey Orthwein and Andrew Sullivan examine in Bokeh. For Riley (Matt O’Leary) and Jenai (Maika Monroe), a young American couple vacationing in Iceland, this query of what to do if the human race vanished isn’t hypothetical. One morning, they wake up and discover that it has become their reality.