‘The Conspiracy’ shifts focus in its third act to a truly frightening riff on found-footage horror movies, and deftly comments on the filmmaking process and the unreliable narrator phenoma.
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Print Reviews
Here are some capsule movie reviews of the phallic documentary The Final Member and the vulgar comedy New Kids Nitro from Fantastic Fest 2012 in Austin, TX.
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It’s quiet, muted at times, as Anderson says with a single shot what lesser directors spend entire scenes on creating, and it ends on a vague whimper.
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Clichéd and as subtle as a kick to the groin, the screenplay by first-time screenwriter Randy Brown doesn’t so much foreshadow events as scream loudly from Hollywood playbook exactly what will occur. Overly sentimental, and not ambitious in the least, the film is a crowd pleaser with well-placed grumpy old man jokes that won’t force audiences to think much (or at all).
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Arbitrage, starring Richard Gere, is an airtight thriller of the economic titans that avoids becoming preachy or sentimental.
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Using specially designed hidden cameras, Brügger films his “secret” meetings with these powerful men — ministers, defense secretaries, bureaucrats, other “diplomats” — who all put on this charade that they are doing things for the welfare of the country.
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‘The Words’ provides stories within stories within stories. After all, why settle on a single plot with one narrator, when three will do? Nothing in this script develops naturally. And that’s the problem.
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Those seeking out Robot & Frank are likely to get exactly what they expect, no more, no less, but for longtime fans of Frank Langella (or those desperate for anything even remotely sci-fi), it’s enough.
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The best performance in the film comes from Kirsten Dunst, who uses the leftover existential dread from her brilliant role in Melancholia to her advantage here in her portrayal of Regan, the closest thing the film has to a protagonist.
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Cosmopolis falls squarely in the “experimental unadaptable mindfuck” category of Crash (based on the J.G. Ballard book, not that abysmal Best Picture winner) and Naked Lunch (based on William S. Burroughs’ groundbreaking free-form novel).
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It may look like The Fast And The Furious: 1920s, but Lawless is wittier and more memorable than initial trailers would lead you to believe.
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The graphic, disturbing NC-17 film Killer Joe unfolds like a great prank, but after freewheeling dangerously and thrillingly for 90 minutes, it skips the relief and goes straight to the punishment
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With glaring flaws in story, tone and character Hit & Run is the kind of movie everyone should want to remove from their resume as soon as possible.
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More ‘Rambo’ than ‘Commando,’ ‘Expendables 2’ has its heart in the right place. There are more callbacks to each actors past catch phrases than any movie should be able to get away with, but then again this is the one movie that one-line callbacks were made for. And the action is super nuts, even if it rarely comes out to shine – most of it is too accelerated to do much good.
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The special effects are what set Zombie A-Hole apart. Thanks to ever-more-powerful home computers, effects in your standard indie horror flick are better than some straight-to-video or SyFy original movies.
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