Just like Fats Domino’s “Let’s Twist Again,” Guardians of the Galaxy Vol. 2 can’t play the same familiar chords with lesser lyrics and expect the same results. It isn’t quite the revved-up rallying call for outcasts that the first one was, so this sequel is best approached with lower expectations.
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Henry Cavill and Armie Hammer trade in the same kind of faux-clever one-upsmanship that Holmes and Watson do in ‘Sherlock Holmes,’ with similarly weak dialogue but barely a quarter of the charm.
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This electrifying film puts the tension, the fear, the courage, and the tragedy in perspective, and dramatizes it through the struggles of people, not rhetoric.
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Starting this Friday the Tivoli is playing the documentary Finding Vivian Maier, which is a telling of director John Maloof’s discovery of an artist. Vivian Maier has quickly grown into an overnight Internet sensation within the public, but especially within the art community. Her images have been circulating through newspapers, Internet news feeds, and online image […]
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‘Sabotage’ has a ton of forced macho camaraderie among its actors and a series of grisly murders that even Hannibal Lecter would find classless.
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The espionage thriller gets an update with the release of The East. And let’s face it, born largely out of the Cold War; the espionage thriller needed a facelift. Pitting spy against spy and super power against super power just doesn’t work as anything other than a historical document or relic of the not-so-distant past.
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This week, Alan Rapp subs for Trey to talk about After Earth with Trevan and Now You See Me with Eric.
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With his film version of The Great Gatsby, Baz Lurhmann creates a glittery and overstuffed adaptation that has all of the facts of the book right, while missing the skepticism and queries posed by it’s narrator and author.
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Hey-o! A late post for the podcast this week. Sorry about that. This week, Trey talks The Host, while Trevan and Eric talk G.I. Joe: Retaliation and The Gatekeepers. Lastly, Eric takes on On The Road on his own.
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When it came out ‘Raging Bull’ barely made its money back and almost ended Martin Scorsese’s career. By the end of the 1980s it had won almost universal critical praise.
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Hooper actively undermines what is powerful about the stage version of ‘Les Misérables,’ and doesn’t use his camera’s frame effectively to add anything of value.
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Steven Spielberg’s newest holiday Oscar-bait project, Lincoln, suffers under the burden of its own ambitious pretensions, for what it offers up in the acting department is often sabotaged by jagged pacing, uneven story-telling, and a redundant message.
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Alex Cross is a bad movie that aspires to be a mediocre movie, only to fail even at that modest goal — in spectacular fashion.
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Zoe Kazan (also playing Ruby) wrote ‘Ruby Sparks’ straying away from being a strictly formulated cutesie romantic comedy. When one thinks about it, being able to control a person by conveying their actions into a typewriter is rather dark. It is with this darkness that Kazan weaves the story into something that sucks the viewer in.
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Warren Cantrell is at the 2012 Seattle International Film Festival seeing as many movies as he can and filing reviews and reports as he goes. Que pena tu boda (translated as Fuck My Wedding and directed by Nicolas Lopez) is a sequel to 2010’s Que pena tu vida (Fuck My Life), and is a rare exception to […]
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