Hairball, anyone? When faced with the imminent completion of the saga of Shrek, the powers that be at Dreamworks Animation made the only possible decision they could to keep the peace among the masses begging, nay, clamoring for another installment. […]
Who’s ready to spend four hours with Johnny Depp as a substance-abusing, raving goofball? No, it’s not another Pirates sequel, but a double-feature of adaptations of semi-autobiographical novels by the late, sometimes great, frequently soused, often reckless, original “gonzo” journalist and author, Hunter S. Thompson: Terry Gilliam’s Fear and Loathing in Las Vegas (1998), and Bruce Robinson’s Rum Diary. […]
One hand-held camera. (Shake well.)
An ominous, mostly unseen supernatural force making largely off-camera mischief.
Lots of improvised bickering.
No stars, no music, nothing to suggest that any money was spent on anything.
An abruptly violent downer ending.
Blend for approximately 90 minutes, and presto! You’ve whipped up your very own POV horror flick! […]
Mixed Martial Arts is often used inside the squared circle to throw off an opponent in a match. It includes many styles, such as boxing, wrestling, Brazilian jiu-jitsu, muay Thai, kickboxing, karate, and judo. But for this Smackdown, in this ring, we get a whole new style of combat: dance.
Two titans of dance-flick franchises, Footloose and Dirty Dancing, are squaring off. […]
Hollywood has long been recreating and remaking stories. Even so, it’s no secret that the studios have gone into overdrive lately. Now John Carpenter’s cult classic horror movie, The Thing, has been remade as a prequel.
At first glance, everything about this new adaptation screams rip-off. Naturally, the setting and the time period had to remain the same. The cast have changed, but the characters are often alarmingly similar. Even the marketing for the film uses similar imagery and title treatments.
And they didn’t even have the decency to change the title. […]
The list of more-than-decent films about political campaigns is a short one. Nobody will ever forget Henry Fonda and Cliff Robertson in The Best Man or even The Candidate with the Kennedy-esque Robert Redford. During the Years of Lewinsky, Primary Colors took us into the thinly-disguised 1992 Clinton campaign. Now we have The Ides of March, proudly wearing its cynicism on its sleeve at a time when Obama gets pilloried for being practical. In the most recent films, the candidates have that certain problem we mentioned earlier. (Redford is famously remembered in The Candidate as muttering, after winning, “What do we do now?”, but there’s also a quick moment of a campaign worker leaving his room in the morning earlier in the film.)