What makes Zero Dark Thirty such a fascinating film is that it plays both as an engaging procedural thriller and a serious examination of the country’s moral compass. It is already doing what great movies do—starting conversation.
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It’s a podcast with one of the best and worst films in recent memory, so don’t miss it.
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Kathryn Bigelow and Mark Boal return to the hard-nosed military genre with Zero Dark Thirty, a rare cinematic achievement.
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There are movies aplenty in this week’s podcast, as Eric, Trevan and Trey work their way through some late-to-dinner Oscar hopefuls: Promised Land, Not Fade Away, Hyde Park on Hudson and The Impossible. There’s a lot to get through and the guys move fast, so try to keep up. Subscribe to The Scene-Stealers Podcast on iTunes or our RSS.
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Because ‘Not Fade Away’ is more about intertwining themes than it is about obvious plot and conflict, it has energy—but it’s a melancholic energy. It revels in the mystery, appreciation, and ultimately creation of art—from a guy who was empowered and inspired by rock n’ roll himself.
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‘Killing Them Softly’ favors the character side of things way more heavily than plot. It’s all the more complex and interesting for it, but calling this movie a thriller at all is a bit of a stretch.
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It’s another week at the Scene-Stealers podcast and this week we’re discussing Killing Them Softly, Anna Karenina and Miami Connection – let’s not talk about Jack And Diane. Actually, we will, but it’s a figure of speech. Just listen to it. Subscribe to The Scene-Stealers Podcast on iTunes or our RSS.
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It’s been five years since writer/director Andrew Dominik made The Assassination of Jesse James By The Coward Robert Ford. And like that film, his newest offering, Killing Them Softly, is an allegory for the times we live in, and will likely be seen by no one. It’s also one of the best films of the year.
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“How could guys like us worry about a tiny little thing like the sun?” The bracing melancholy of childhood is an underrepresented phenomenon in popular entertainment. By and large, children’s films prefer to coast by, parading antiquated, uninteresting archetypes and reducing all conflict to clinical action sequences devoid of substance or originality (see: Tim Burton’s […]
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