Zombieland: Double Tap
The vast majority of sequels are unnecessary, but Zombieland: Double Tap feels particularly so, especially coming out a decade after the original.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Potentially another "Dog Day Afternoon." Too bad about the execution.
A report from this morning's Golden Globes nominations announcement, and a full list of the nominees.
Matt writes: Last week, we mourned the death of Aretha Franklin, the inimitable Queen of Soul who left behind a towering legacy of immortal music when she passed away at age 76. Odie Henderson penned a wonderful tribute to the legend, while various contributors at RogerEbert.com joined Chaz Ebert in offering their own reflections on her extraordinary life and career.
A deep dive into the acting career of Glenn Close, celebrating a performer who gets more out of stillness than almost any other actor.
An interview with two stars and the director of the new film, "The Wife."
An article about the Hollywood Foreign Press Association's Annual Grants Banquet scheduled for August 9th.
A history of Gary Oldman's performances.
The winners of the 75th annual Golden Globes.
An article about the 2018 nominees of the Golden Globe Awards.
Bruno Dumont stages a rock opera about Joan of Arc. An Argentine political thriller has a dash of Hitchcock's "Spellbound."
A review of the season two premiere of USA's "Mr. Robot."
A TV critic's picks for the best TV of 2015-16.
New titles on Blu-ray and DVD including "The Martian," "Mr. Robot" and "Straight Outta Compton."
A recap and report from backstage at the 73rd Annual Golden Globes.
An article on the 2016 Golden Globe nominees.
Reviews of USA's Mr. Robot and AMC's Humans.
Tragedy strikes at SXSW; Nebulous platitudes and James Franco; TV actors don't need movies; Connecting The Sopranos and Irreversible; Eviscerating Nymphomaniac: Vol I.
With several new dramas returning or premiering in the next week, Brian Tallerico says The Americans and The Red Road are two to watch.
This piece is about director Neil Jordan's seven most overtly supernatural, fairy tale-like films—The Company of Wolves, High Spirits, Interview with the Vampire, The Butcher Boy, In Dreams, Ondine, and his latest, the mother-daughter vampire shocker Byzantium. An infographic analysis of each—please refer to the key for each symbol's meaning—reveals this pattern and confirms Byzantium is the culmination of 30+ years of Jordan exorcising his personal demons on-screen.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
Marie writes: It's a long story and it starts with a now famous video of a meteor exploding over Chelyabinsk, Russia. Followed by alien conspiracies fueled by the internet and which led me to investigate further. Where did it come from? Does anyone know..? Yes! According to The NewScientist, the rock came from the Apollo family of near-Earth asteroids, which follow an elongated orbit that occasionally crosses Earth's path.That in turn led me to yet another site and where I learned a team of scientists had discovered two moons around Pluto, and asked the public to vote on potential names. They also accepted write-in votes as long as they were taken from Greek and Roman mythology and related to Hades and the underworld - keeping to the theme used to name Pluto's three other moons. And how I eventually learned "Vulcan" has won Pluto's moon-naming poll! and thanks to actor William Shatner who suggested it. Behold Vulcan: a little dot inside a green circle and formally known as P5.
Marie writes: The late John Alton is widely regarded as being one of greatest film noir cinematographers to have ever worked in Film. He perfected many of the stylized camera and lighting techniques of the genre, including radical camera angles, wide-angle lenses, deep focus compositions, the baroque use of low-level cameras and a sharp depth of field. His groundbreaking work with director Anthony Mann on films such "TMen" and "Raw Deal" and "He Walked by Night" is considered a benchmark in the genre, with "The Big Combo" directed by Joseph H. Lewis, considered his masterpiece. John Alton also gained fame as the author of the seminal work on cinematography: "Painting with Light".
The Big Combo (1955) [click to enlarge]
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
"Dear Mr. Spider;I am profoundly sorry to have taken you from your home in the woods, when I was picking Himalayan Blackberries on Monday afternoon. I didn't see you fall into my bucket and which was entirely my fault; I must have bumped into your web while reaching for a berry. Needless to say, I was surprised upon returning home with my bucket full, to suddenly see you there standing on a blackberry and looking up at me." - Marie
(photo recreation of incident)
Opening theatrically in New York. Available now through Comcast On Demand, Amazon, iTunes, Vudu. See TribecaFilm.com for details.
by Odie Henderson
"Beware the Gonzo" begins with one of those flash-forwarded scenes where something from later in the film is presented to us as a means of foreshadowing. Being out of context, the scene has the tricky role of piquing the viewer's interest while not being a spoiler. It rarely works, and "Beware the Gonzo"'s opening scene is a big spoiler: a beaten up Eddie "Gonzo" Gilman (Ezra Miller) stares into a video camera and tells us that his actions have cost him his best friends, made him lose his girl, gotten him kicked out of school, and almost caused the divorce of his parents (played nicely by Campbell Scott and Amy Sedaris).
This is supposed to be an apology to all those he has wronged, but instead, it's one of those politician mea culpas, a whiny "my bad if you were upset" speech that never forgets to be more about its subject than atoning for his wrongdoings. Out of context, it seemed pathetic, but I was willing to grant that I didn't have the entire speech at my disposal. However, it hung over the movie, and as I met the interesting and trusting characters, dread crept in; I kept waiting for the moment when Gonzo would stop being the likeable character he is for much of the film and turns into this destructive monster.
This is not a bad thing, mind you, but the film's dark turn treats some rather unsavory matters in eye-rollingly shallow fashion to produce a happy ending. It never makes its case for why we, or anybody in "Beware the Gonzo" should Forgive the Gonzo. If the film were honest, this tale of how power corrupts would have had a bittersweet, life-learning lesson of an ending: The hero learns from his mistakes and carries that lament with him as he moves on. Lacking that courage, director-screenwriter Brian Goluboff should have at least removed the most serious of "Beware the Gonzo"'s sins from the screenplay. The ending would then be easier to swallow. More on that shortly.
Gonzo works for a prep school newspaper run by principal's darling Gavin Reilly (Jesse McCartney). Reilly is a jock who not only edits the newspaper but comes from a long line of school attendees and patrons. Reilly's family has won a prestigious history award for the school two years running, and he is in line to win it its third. Reilly is also a bully (and worse, as we'll discover) who trashes all of Gonzo's article ideas. He and his jocks beat up Gonzo's friend, the wonderfully named Scott Marshall Schneeman (Edward Gelbinovich), giving him an gate-enhanced atomic wedgie. Scott's predicament leads Gonzo to turn his "first day of school" article into an expose on the bullied kids. Reilly edits out all but two paragraphs of Gonzo's article, forcing him to start his own underground newspaper. The first article is all about Scott and his run-ins with the jocks.