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elizabeth olsen

[Rating: Minor Rock Fist Up] Social media has made it incredibly and horrifyingly easy to learn just about everything we could ever possibly want to know about each other. Ingrid Goes West goes right for the throat of our culture’s obsession with turning ourselves into social media stars, but while it ultimately gets lost in […]


[Rating: Solid Rock Fist Up] I love going into a movie, knowing next to nothing about it and being completely sucked into the story and dragged through the mystery as if I was a character along for the ride. Wind River is exactly the type of a slow burn, mystery thriller I need every year […]


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.


The only shock that registered when Spike Lee’s Oldboy was released in theaters was at how little money it made. It shows just how far violence in the movies has come in 10 short years, because this new Oldboy — released today on Blu-ray and packaged with a digital copy — is technically more overtly graphic.


The new film In Secret has a lot of things going for it, a great cast that features Elizabeth Olsen and Oscar Isaac, excellent art direction, and a script adapted from an Émile Zola novel. Yet for all of its apparent strengths, In Secret falls a bit flat.


The gimmick behind Silent House ends up being the only thing the film has going for it. Beyond the single-take device, there isn’t much in way of plot or performances.


Out on Blu-ray and DVD now are two of the best movies of last year whose names you didn’t hear at the Oscars. Despite Michael Shannon’s powerhouse lead performance in the psychological suspense drama ‘Take Shelter,’ he was somehow left out of the Best Actor race. ‘Martha Marcy May Marlene’ is also anchored by an incredibly soulful performance not nominated for an Oscar.


Director Sean Durkin uses shallow depth of field in an attempt to accentuate the psychological claustrophobia that Martha feels. Instead he manages to distract from Elizabeth Olsen’s stellar performance and detach the viewer from the emotional content or a genuine understanding of a well developed character.

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