- Nightcrawler (2014) vs. Zodiac (2007)
- Gone Girl (2014) vs. Gone Baby Gone (2007)
- Fargo vs. True Detective
- Foxcatcher (2014) vs. Win Win (2011)
- Breaking Bad vs. The Sopranos
- Team Smack Goes Sidewise
- The Fault In Our Stars (2014) vs. The Spectacular Now (2013)
- (Super) Men of Steel
- The Drop: What’s New in Theaters, Disc and Digital?
- Her (2013) vs. Lost in Translation (2003)
- American Hustle (2013) vs. The Informant (2009)
- Dallas Buyers Club (2013) vs. Philadelphia (1993)
- Brave (2012) -vs- Mulan (1998) on
- Surrounded by Enemies: What if Kennedy Survived Dallas? (2013) vs. 11/22/63: A Novel (2012) on
- The Smurfs (2011) -vs- The Muppet Movie (1979) on
- Deep Impact (1998) -vs- Armageddon (1998) on
- Harry Potter and the Deathly Hallows (2011) -vs- The Lord of the Rings: The Return of the King (2003) on
- In Time (2011) -vs- Logan’s Run (1976) on
- The Thing (2011) -vs- The Thing (1982) on
- Our Idiot Brother (2011) -vs- Step Brothers (2008) on
- Hairspray (2007) -vs- Hairspray (1988) on
- Looper (2012) -vs- Source Code (2011) on
Tag Archives: ’70’s
Who doesn’t love Matt Damon and Christian Bale?
(Okay, probably this guy doesn’t love Bale so much, and Minnie Driver still might be holding a grudge against Damon…But just go with me on this…)
And who doesn’t love when big stars like Matt Damon and Christian Bale ugly themselves up with bad hairpieces and weight gains and cheesy facial hair for a scruffy little indie role?
And who doesn’t love period offbeat indie comedies based on true stories in which the aforementioned uglied-up big stars like Matt Damon and Christian Bale play real-life dudes who started working undercover with the Feds to catch criminals, only to turn out to be unreliable and devious and driven by their own agendas?
And who doesn’t love when original mavericks of low-budget filmmaking like Steven Soderbergh and David O. Russell return to their indie roots and make…what I just said above? Continue reading
Now, after a summer of sequels that did little to further movie franchises or the film business in general, comes a remake of Straw Dogs, the 1971 classic considered by some critics to be among the most visceral and memorable statements regarding violence ever put on the screen. Then again, what else would you expect from the maestro of malignant mayhem, the irrepressible Sam Peckinpah?
The updated remake is helmed by journalist/film critic-turned-director Rob Lurie. How does it compare? Can Lurie teach an old Dog new tricks? Like Westminster, this “best in show” is winner take all. Continue reading