Review: The Avengers
I hated Marvel’s The Avengers. Continue reading “Review: The Avengers”
I hated Marvel’s The Avengers. Continue reading “Review: The Avengers”
Graduating from college comes with an overwhelming ennui that leads graduates to believe we are being utterly underutilized in a society that can’t appreciate our over-education. We’re entitled to everything because, after all, we know everything there is to know about life. Tiny Furniture, which won best narrative feature at SXSW 2010, is about learning that we actually don’t know anything except nobody else (including our successful friends and parents) knows anything either.
Dunham is Aura, a recent graduate from a prestigious liberal arts college who returns home to live in her mother’s shwanky loft in Tribeca, New York. She hates living at home, as it contains her artsy mother (Laurie Simmons) and her obnoxious younger sister (Grace Dunham), but knows the arrangement is only until she gets an apartment with her best college friend (Merritt Wever). Until then, it’s job hunting and catching up with peers, who all seem to have their lives on the road to being sorted out. Surrounded by the young, artistic and sardonic, Aura is forced to ponder whether she should be creating, reading, meeting people, or joining the work force regimen. In the meantime, she’d much rather sulk. Her only apparent modicum of comfort comes from Charlotte (Jemima Kirke), a childhood friend with a maybe-British accent who concerns herself with none of these details. Continue reading “Rack Focus Review: Tiny Furniture”
Cabin in the Woods is as smart as it thinks it is. The only reason it isn’t smarter is because its tongue is so self-satisfyingly planted in its cheek that you can practically see the smirks of producer/co-writer Joss Whedon and director/co-writer Drew Goddard on every frame. Horror films are perhaps the easiest to lampoon, but I don’t think the genre has ever quite been skewered this good. Continue reading “Rack Focus Review: Cabin in the Woods”
Detention jams as many ideas into its 90-minute run time as possible — including references to The Breakfast Club, the Disney Renaissance, the Saw franchise, David Cronenburg, Scream, Stephen King, the Backstreet Boys, Mean Girls, Nickelodeon, and lots of other pop trivia. Additionally, there is a time-traveling bear and a mutant fly-boy. The flick is also a jumbled mess, but mostly pretty fun in that live-action-cartoon-soaked-in-blood kind of way. Continue reading “Rack Focus Review: Detention”
Jeff, Who Lives at Home, which is written by Jay and Mark Duplass, is rather obsessed with signs — and by that, I actually mean M. Night Shyamalan’s Signs. Both present their protagonists as witnesses to coincidences that, if paid their due attention, may ultimately prove to be an order to a seemingly listless universe. But this indie drama is smarter than the big-budget sci-fier it references, and indicates this self-awareness by placing these theories in the mouth of Jeff (Jason Segal), a 30-year-old stoner who does indeed live at home with his widowed mother.
Continue reading “Rack Focus Review: Jeff, Who Lives at Home”
Once in a great while, my career beckons me in a way that incapacitates me ever so slightly. Did I see The Hunger Games? Yes. Did I like it? Definitely. Do I have time to write a full review? Not this week. For this reason, joining me for the review is At The Buzzer contributor and all-around Superman look-a-like Shaun El-Ters.
Both being fans of the novel by Suzanne Collins, we’re going to first take issue with any and all comparison’s to the Twilight films beyond the simple truth that these are popular stories designed for tweens. The trailer for The Hunger Games is, on its own, compelling viewing, while any clip of Bella Swan (who we most recently saw hungrily eyeing a deer) induces laughter. Both properties are obviously designed to make money, but the expertise in the production of The Hunger Games makes it the sci-fi pulp cult classics are made of. Continue reading “Rack Focus: Review: Hunger Games”
The Lorax is my favorite of the many animated adaptations of Dr. Seuss’ works from the 1960s and ‘70s — where bizarre and vaguely hippie-dippie tunes were set against the rough lines and bright-yet-cruddy pastels that are synonymous with the artist’s humble illustrations. Now we have a feature-length version courtesy of the studio and director of Despicable Me, where the viewer enjoys state-of-the-art CGI artistry wrapped in a cotton candy-coated color scheme not found anywhere I’ve seen in nature. Continue reading “Rack Focus: The Lorax”
As I live in Los Angeles, I am an avid listener to the hilarious Kevin & Bean Show in the mornings on KROQ 106.7 FM. This past Tuesday, Kevin was complaining about The Artist, this year’s apparent frontrunner for the Best Picture Oscar at this year’s Academy Awards. Not only does our man Kevin dislike the film, but he has gone as far as to call it “utter BS.”
He has, of course, made up his mind having never seen the film, under the guise that it is for hipsters and intellectuals. They’re all wrong, but we’re going to circle back to that.
In the meantime, let me explain a little bit about The Artist. Here we have a silent film about the silent film era, specifically focusing on the transition into the talkies. Many silent film stars lost their livelihood when sound came along, and more than a few ended their lives when they were told their careers as movie stars were over. Those who could afford to reinvent themselves did just that, and such is the path of our protagonist, George Valentin (Jean Dujardin), a Frenchman who has spent his career singing and dancing and emoting without the aid of words. When sound hits the street, his success hits the skids, and he’s left to navigate the ways of filmmaking with only his faithful dog and his faithful driver (James Cromwell). Continue reading “Rack Focus: Review: The Artist”