In my life, I’ve seen very few films multiple times. I don’t believe in it. I feel life is short, just move on. But I saw this movie twice in one week. That’s a good review.
You know, I love the whole sci-fi genre. One of my favorites. And, despite the current over-saturation of zombie oriented fare, I’m a fan of zombies, too. Well, of course The Walking Dead is fine. Of all the zombie stuff going on, that is still great. But we could do with a break otherwise. Unfortunately, The Last Days On Mars, despite a fine cast and production value, is little more than Zombies On Mars.
If your favourite Coen Bros. flick is The Big Lebowski, True Grit or No Country For Old Men, there’s no guarantee that the new one, Inside Llewyn Davis, is going to be up your alley. But if you thought A Serious Man was funny as shit (it was), pissed yourself at O Brother Where Art Thou?, and basically had a haemorrhage the first time you saw Raising Arizona, you’ll love Davis, which is really funny while also bringing the Art.
Amy Adams is hot. If you don’t believe me see American Hustle. In fact, see it anyway. See it no matter what. It’s awesome.
Birth of the Living Dead is a documentary about the making of one of my favorite films; Night of the Living Dead. It contains a treasure trove of trivia about how George A. Romero, NOTLD’s director and screenwriter, added the zombie to the classic monster roster with the help of a rag-tag group of investors and first-time actors and filmmakers. But unlike Frankenstein’s Monster, Dracula, and The Wolfman, zombies were added as a whole, as a collective. Forty-five years after NOTLD’s release, zombies are more popular than ever, which makes me a very happy man.
The “Catching Fire” in this case is about the fire that is civil discontent brewing in the 12 districts that will soon be the revolution. But also it is the fire that makes me slowly warm up to this franchise. I hated the first one so much that I walked into this with dread and left mildly surprised… How about that? I say that they did something right.
I had a strange sense of connection to Cold Turkey. Not that my family had dysfuntional holidays like the one we see here, but I think, if we had as many out-spoken members as the Turner family, we might have had similarly tumultuous Thanksgivings.
Whatever your feelings on the imprisonment and exploitation of sea mammals for profit – ambivalence, acceptance, unease or indignation – the sober, level-headed and extremely well-constructed documentary Blackfish is sure to open your eyes a little wider, introduce you to some aspects of the industry that you didn’t know, and perhaps, if you’re of the ambivalent or accepting camps, change your point of view. I’m in the indignant camp and it still taught me an awful lot about this dispicable industry.
A foolhardy concept from its very inception, Diana, which imagines the relationship, in the last three years of her life, between Diana, Princess of Wales, and heart surgeon Hasnat Khan (Naveen Andrews) is chock full of dialogue that no actor can possibly make work. If we are to believe this film, Diana and Hasnat’s early courtship, held essentially in secret at Kensington Palace, was composed of her making gags about the bounty of royalty (asked if she has any more wine, she replies “This is a Palace – we don’t run out of anything”), while he parried with poetic quotes and ludicrous, high-faultin’ babble (on surgery: “You don’t perform the operation – the operation performs you”).
Alexander Payne makes great movies. Election, About Schmidt, Sideways, The Descendents, all directed by Payne. To me, he’s like the Coen Brothers; even their weak movies are better than most other directors good ones. And as far as I’m concerned, Nebraska is no different. It’s more subtle, less like a big Hollywood film than most, but wonderful all the same.