Anniversaries are hit and miss in the Godzilla universe, but this overlooked entry (obscured by remakes and awkward chronological positioning) is one of the best.
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Anniversaries are hit and miss in the Godzilla universe, but this overlooked entry (obscured by remakes and awkward chronological positioning) is one of the best.
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The Kansas City Art Institute and Alamo Drafthouse have joined forces to bring you Film School, a weekly student curated film series. This week – The Passion of Joan of Arc (1928) – Saturday, August 3rd at 2:00 p.m.
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Here’s my KCTV5 review with clips from ‘The Wolverine,’ as well as my capsule print review from Lawrence.com.
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Any way you look at it, Grant’s shooting is an awful tragedy, and debates about the whether the amount of time served by the man who shot him was enough (11 months of a 2-year sentence) are completely warranted. Coogler’s intention, however, for this film is clear: to give voice and dignity to Oscar. This isn’t the story of two people and their chance trajectories ending in tragedy. It’s the story of the victim.
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There’s a big difference between what should be funny and what’s actually funny.
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Listen to Eric Melin and I argue about The Wolverine on Scene-Stealers Podcast #100. Hugh Jackman reprises the titular role that made him famous in The Wolverine, a movie that is simultaneously hampered by being forced to acknowledge the X-films that came before it, and helped by largely divorcing itself from the X-universe and telling its […]
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The Kansas City Art Institute and Alamo Drafthouse have joined forces to bring you Film School, a weekly student curated film series. This week – River’s Edge (1987) – Saturday, July 27th at 1:00 p.m.
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Nicolas Winding Refn’s newest pairing with Ryan Gosling is a step in the wrong direction.
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Based on the comic of the same name, Ryan Reynolds and Jeff Bridges star in this amusing tale of undead cops working for the Rest In Peace Department.
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We’re back! And by “we,” I mean Eric Melin, Trey Hock, and Trevan McGee. There’s a lot to cover this week including a retroactive review of last week’s Pacific Rim, plus Trey and Trevan talk about Only God Forgives before Eric spills on A Hijacking and The Way, Way Back.
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Red 2 may have some fun moments, but the trainwreck of a sequel simply can’t hold enough good scenes together to keep the film from floundering through most of its nearly two-hour running time.
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The directing debut of Nat Faxon and Jim Rash, The Way, Way Back is a charming coming-of-age film that overcomes a lot of pitfalls of the genre because its protagonist is so beautifully inexpressive and uncomfortable to begin with that when he finally does make the small strides needed to come out of his shell, it feels like a huge triumph.
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