January 2013

We have passes to see A GOOD DAY TO DIE HARD starring Bruce Willis on Tuesday, February 12th at Cinemark Merriam at 7:30 PM and we want you to have them!

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‘Bullet to the Head’ is the first Walter Hill movie in 10 years. Walter Hill’s movies are lean, mean man-on-a mission films, and their success lies in a very ethereal trait. Walter Hill’s movies are cool. Here are the Top 10 Coolest Walter Hill Characters.

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While This Is Martin Bonner is a very thoughtful, well-acted, interesting character study, at a paltry 83 minutes, it could have survived another 15 or so to give some closure to the stories of Martin and Travis, who both seemed on the verge of a breakthrough in their lives.

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At the Sundance Film Festival, first-time director Meul O. presents a movie that straight-up indicts the U.S. government for a largely forgotten act of genocide with his movie Jiseul, a drama about the 1948 South Korean uprising on the island of Jeju, a nightmarish event that claimed thousands of lives.

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Two 2012 films that should have gotten more attention in their theatrical releases (the cop drama ‘End of Watch’ and Woody Allen’s ‘To Rome With Love’) are out now on Blu-ray.

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As a piece of cinema, Bastian Günther’s film should be commended for this kind of work, for Houston never just tosses a character component on the table for its audience to absorb, but instead dresses its scenes with subtle visual cues that tell a larger story.

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A half-assed mélange of incomplete characters, throw-away visual cues, and incompetent story-telling, it’s almost as if director Sebastian Silva made Magic Magic so that he could sit in the back of the theater, and watch his audience squirm.

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‘Hansel and Gretel: Witch Hunters’ is a gory, R-rated splatter-fest that uses its cartoonish violence as crutch rather than an anchor. It wants desperately to be on the same level as Sam Raimi’s slapstick horror Evil Dead trilogy, but it’s nowhere near as fun or clever.

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Well acted and well directed, Quartet stands on the edge of schmaltziness, with one foot dangling. But thankfully, it never fully jumps off. It’s not necessarily memorable for the right or wrong reasons. And while it doesn’t do much to be outstanding, it is a perfectly pleasant film.

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A fascinating inside look into the making of what some have called the Gone With the Wind of porno flicks, Lovelace is most successful when allowing its characters room to explore their emotional topography.

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‘The Moo Man’ is a celebration of those brave souls out there, in any job, who engage in a difficult profession because they enjoy it and believe in it, and not simply because it pays the bills.

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We’re doing something a little different with this week’s podcast. Eric took part in a Critics Vs. Oscars panel along with several other Kansas City film critics and we’ve got the entire discussion here.

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What’s the purpose of cinema if not to engage its audience on a level (or levels) that both entertains, but also broadens their understanding of a particular theme or notion? A Teacher fails in both of these endeavors, for it is not only a shitty time (this movie is a slog), but it doesn’t bring its audience to a new place by the time it fades to black.

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Universal probably wanted an exciting film filled with fast cars and faster women that would match up with their souped-up tagline for the movie: “Their lives begin at 140 m.p.h.!” What they got was a quiet, existential masterpiece that has turned into a bonafide cult classic.

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As a cinematic adaptation of a literary piece, Big Sur is near-flawless, for it makes extensive use of Kerouac’s writing from the book, and uses its powerful cadence and pacing to draw the audience into the increasingly fragmented mind of the legendary Beatnik.

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