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.
On three films from Tribeca that may not have big stars but have big ideas.
Marie writes: This week's Newsletter arrives a day early and lighter than usual, as come Tuesday morning, I'll be on a Ferry heading to Pender Island off the West Coast, where I've arranged to visit old friends for a few days and enjoy my first vacation in two years; albeit a brief one. No rest for the wicked. :-)
In a Coen Brothers movie every pause and stutter, every "um" and grammatical (mis-)construction, every repetition and idiosyncratic pronunciation, is inscribed like a note on a musical staff. The composer-conductors write the music, indicate the pitch, tempo and duration of each passage, and the select musicians -- soloists and ensemble players -- attack their assigned parts with the virtuoso flair for which they are known. As composers have often written works specifically suited to the talents of their favorite musicians, so the Coens frequently write roles tailored to the individual actors they want to work with.
"Burn After Reading" is a deft little piece, directed with a straight face and performed with a roiling comedic energy that matches brio with precision. That's what makes it funny. Emmanuel Lebezki's cinematography, Carter Burwell's score, Roderick Jaynes' editing (yes, we all know that's a pseudonym) could proudly serve any modern espionage picture. All serve a ridiculously plotted absurdist farce, which is what the best spy stories usually boil down to, whether they're comic or tragic.