Trey Hock

The films of Noah Baumbach have two constants, his love of New York and his obsession with moments of transition. His latest film Mistress America is no different, though more distilled and hilariously funny.

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Dark Places suffers from its commitment to its mediocre source material, and the horrendous Fantastic Four is a intro course in how not to write a screenplay.

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The Tribe is a viciously effective film. Its ending in particular is incredible and relentless. The Tribe will make you feel deeply, but the dark emotional place it takes you, may not be safe for most audiences.

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Written and directed by Patrick Brice, The Overnight is a sex comedy that takes on the issue of two couples sexually comingling. It is strange, awkward, and works brilliantly because of Brice’s brutally honest approach to the curiosity and insecurity that plagues each of us.

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Me and Earl and the Dying Girl has a few nuances that are interesting and make it a welcomed newcomer to the dying teen genre, but still holds onto some worrisome tropes that keep it from rethinking the genre in a meaningful way.

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Sophie Barthes removes any focus on Charles in her retelling of Madame Bovary. In doing so she undermines many of the strengths of Gustav Flaubert’s novel.

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Whether you are new to Brian Wilson’s story or you are looking for an excuse to pull out your Pet Sounds vinyl, Love & Mercy is a well-crafted ode to an inspirational figure, and an entertaining and well-acted film.

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From the beginning, Brad Peyton’s San Andreas is a compromised film. Many of the choices to force in exposition and emotional depth undermine the strengths of the disaster film.

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If these costumed super heroes are truly the gods of our time and the films that they are in each summer are our contemporary mythological canon, then these films should reflect our current understanding of each other, including visual representation of women and minorities, instead of parading out old narrative tropes and stereotypes as if they were steadfast truths.

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Ex Machina does what excellent science fiction always does. It uses the tenets of the genre to pose difficult questions about our human existence.

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Most people can skip Roar, but if the confusing anomalies of cinema draw you in like a magnet, then you must see Noel Marshall’s cinematic madness on the big screen.

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Ultimately True Story fails to create any real suspense, its only saving grace is the compelling nature of its source material.

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As a film, Sam Taylor-Johnson‘s version of Fifty Shades of Grey is a not good, not terrible adaptation of E.L. James‘ wretched book. As a cultural event, Fifty Shades is a tragic missed opportunity.

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J.C. Chandor’s latest feature film, A Most Violent Year, is being hailed by some as The Godfather for our time. This comparison may ring true, but A Most Violent Year lacks the emotional impact of Coppola’s masterpiece.

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With his new film Big Eyes, Tim Burton and collaborators suffer from what I like to call bad history teacher syndrome. They are too interested in the what and not enough in the how or the why.

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