The Nice Guys

The Nice Guys

What do you think of when you hear the name Shane Black? If you’re in the know, as I pretend to be, you likely think of two or more clever-by-half characters exchanging shuriken-like witticisms against a backdrop of intrigue and mayhem.

When I heard Black’s name in conjunction with the those of Ryan Gosling and Russell Crowe, my heart nearly skipped a beat. There’s no reason why The Nice Guys—with it’s talented writer/director, cast, and setup—shouldn’t have knocked it out of the park. Instead, the final product is a disappointing and painfully meandering reminder of what could have been.

Continue reading

Advertisements

Hardcore Henry

hardcore henry large

It seems to me that the action genre has been maligned in recent years, probably because at least ninety percent of it consists of creatively bankrupt, pitifully vapid, painfully generic dross. When I first saw the trailer for Hardcore Henry, I admit that my first reaction was a pretentious sneer at the blazing neon lights blatantly forming the words “Gimmick! Gimmick! Look at me!” 

So no-one was more surprised than I at the fact that Hardcore Henry turned out to be one of the most raucous joyrides that I’ve had the pleasure to experience all year.

Continue reading

Midnight Special

midnight_special_poster

Just as the so-called “movie brat” directors of the 70s often cite John Ford, Hitchcock, and Antonioni as some of their major influences, younger directors often reference the movie brats scene when asked about their own influences.

Even among giants like Scorsese, Malick, and Altman, one director seems to be talked about more than any other: Steven Spielberg. For many of these younger directors, we’re seeing Spielberg’s films not just as inspirations, but as templates from which one creates one’s own work.

Continue reading

Fateful Findings

fateful-findings-film-cover

I saw a film yesterday. It starred actors, was presumably filmed using a recording device of some description, and consisted of scenes which were acted out and arranged in sequential order. The name of the film was Fateful Findings, and I was changed by it.

Even now, in the relative safety and repose of my room, and enjoying the old familiar comfort of my writing desk, I find myself struggling for the words to describe this…experience. I feel uncommonly labored as I write this, as if I have to dredge each individual word from a stinking, fetid pit of tar, and, even then, they seem unfitting for the task at hand. Where should I start?

It’s a tricky question, because one does not simply appraise a film like Fateful Findings based on artistic merit or technical execution. Rather, I think the degree to which the film makes one lose their grasp on reality is a more meaningful method of evaluation. That said, I suppose I should start at the beginning.

Continue reading

The Big Short

the-big-short-teaser-poster

Of the myriad types of movies that can be made about Wall Street, it seems like you can either go the Wolf of Wall Street route—bright, energetic, lots of swearing—or you can go the Margin Call route—darkly serious, brooding, lots of swearing—although, interestingly, it seems like Adam McKay’s latest feature, The Big Short, melds the two approaches—with surprisingly positive results.

Continue reading

The Visit

hack-fraud filmmaker shames literally everyone, including self


Oh dear, oh dear, oh dearie me. I wanted a horror film, and for my sins, they gave me one. Of course, in this case the word “horror” has to carry almost tangible sarcastic connotations. The horror genre doesn’t need defending, obviously—but to call this unmitigated piece of shit a horror film is nothing but a cruel charade. Still, you can’t say it’s off message though: it’s certainly psychologically and emotionally painful for the audience to sit through.

Continue reading