It didn’t have to be this way. In the hands of a better director or a better screenwriter, this could have been a really poignant story about grief and redemption. Instead it’s a melodramatic, sloppy, grim and empty husk of a movie with absolutely no idea what its thesis statement was. This has the stench of an Oscar-bait movie written on a time constraint, with some of the most awkwardly stilted dialogue, the most contrived coincidences and one of the most abrupt endings of 2017.
Prepare for the Black Panther to be your new favorite Avenger. Not only is the film opening to rave reviews, the excellent Ta-Nehisi Coates now writes the comics, and we’ve been granted worthy enough to receive this incredible soundtrack curated by Kendrick Lamar, featuring a who’s who of hip hop. Kendrick is the reigning king of rap, and his production and choices have made this the most fun rap album to come in a long time. Continue reading
It’s not surprising that a biopic about National Lampoon founder Doug Kenney (played by Will Forte) would come out right now. With Netflix’s dedication to weekly comedy specials, the importance of SNL, and the evolution of social-media to share comedy, of course, it’s timely to release a movie about one of the most influential forces in comedy. A Futile and Stupid Gesture is both hilarious and dramatic, bringing to life both the excitement and burden of living in the comedy world. While easily watchable and very entertaining, there are certain aspects that leave the audience a little confused and unsure of how they’re supposed to feel.
Spoilers[i]: Continue reading
I can’t say Happy Death Day is particularly frightening, nor is it particularly funny. The plot twist is pretty contrived, it gets frustratingly repetitive and there are moments that just don’t make sense even within its own fantasy universe. So why did I enjoy this so much? This is a case in which so many of the moving parts are messy and dysfunctional but they inexplicably come together as a cohesive whole. It’s like being on one of those giant carnival slides over and over again, or watching a fidget spinner. Continue reading
You’ve probably already watched The Shining and Night of the Living Dead every Halloween for the past 10 years. If you’re looking for some new recommendations for this year, look no further.
So light some candles, crack open a pumpkin beer and gather some pals for a spooky movie night.
In no particular order: Continue reading
mother! and It are in a battle for the top prize of “most talked about horror film with a one word title to come out in the past few weeks” – and while both have their merits and are well-deserved trending topics, the fear of a shape-shifting killer clown does not hold a candle to being forced to host a party for hundreds of strangers who won’t leave. Continue reading
Before the film adaptation’s release, here’s some insight into Jeannette Walls’ modern classic The Glass Castle.
Spending another week on The New York Times’ Bestseller List and on it’s way to theatres, The Glass Castle continues to be a memoir that holds the public’s attention. If for some reason you managed to escape the media storm surrounding the movie, Glass Castle is the memoir of Jeannette Walls, currently a successful writer and journalist in New York, but once a girl living a rootless lifestyle with two erratic parents. Glass Castle has been out since 2005, but I find when a book holds the public’s attention for this long without fanfare and merchandise of midnight releases and chest tattoos, it’s important to ask why. Continue reading
A loose parody of 14th century novel The Decameron, The Little Hours (dir. Jeff
Baena) features Dave Franco as a runaway who, pretending to be a deaf-mute, starts
hooking up with nuns at a convent. The concept, on paper, could be a dramatic
period piece, but it’s a lighthearted 90-minute comedy. Basically the entire cast is a
comedy powerhouse- Nick Offerman, Molly Shannon, Alison Brie, Aubrey Plaza, Fred
Armisen, and John C. Reilly. Clearly, some effort was made to cast people with excellent
comic timing. Continue reading
Jen Gloeckner’s debut and sophomore album were both very faithful folk albums, making her recent Vine a major departure from her previous sound. We got to talk to Gloeckner about what the recording process was like, touring, and her next album.
BurgerADay:Your sound on Vine is drastically different from Mouth of Mars. It’s a very Bon Iver-like switch to go from a very organic folk sound to something much more ambient and electronic. Why did you make the sudden shift for this album? Continue reading