Ryan Coogler’s directorial debut, Fruitvale Station tells the true story of Oscar Grant and the incidents that lead to his death on January 1, 2009. Featuring Michael B. Jordan and Octavia Spencer, Fruitvale Station will resonate with audiencesin the wake of the George Zimmerman Trial and the similarly tragic death of Trayvon Martin.
Frank Miller and Chris Claremont’s 1982 Japanese story arc is one of the most famous and celebrated in comic book history. It has finally been the cinematic treatment, amidst a loose adaptation and watches out the taste of Wolverine’s first solo outing.
The easiest thing to say about Nicolas Winding Refn’s latest film, Only God Forgives, is that it’s an experience.
Like comedy, the horror genre can be a very subjective beast, finding or missing its mark as much do to its craft and execution as it does the particular individual who plops themselves into a theater seat. If something isn’t scary to someone – someone who earnest believes that of course – then a fright flick has failed at its core intent. Then we have something like James Wan’s The Conjuring, an artful, confident throwback that succeeds in maintaining a high tensile level of pressure on our senses, crafting vital jump scares, a potent human element and all encompassing technical prowess. This is the type of brave, but stripped down horror filmmaking that forces you to analyze other elements besides just the full effectiveness of its frightening intent. Plus it’s scary as hell.
A musical, science fiction film about a general from the planet Hondo who lands on Earth to invade it but instead starts a life there. General Trius changes his mind when he hears music for the first time. Instead of destroying the human race, he decides that he must figure out a way to save Earth and his home planet, Hondo.
To simply state that summer blockbusters have become sterile and lifeless in execution would be to ignore the often literal implication of that statement. Fare like Transformers and Battleship are robotic in nature, encapsulating what is supposed to be visceral emotion – one versus the world – in a tomb of metal and gears that turn only to spew out lifeless destruction and mayhem. What director Guillermo del Toro achieves with
This Fox Searchlight indie is a gem of a film. A highly recommended feel good flick of the summer.
We’ve got a rarity, folks. More than 2012’s solid horror short amalgamation V/H/S which was primarily an assault on our primal fears (and descended into emotional bleakness at times because of it) this follow-up, while still hitting the right nerves, is also funnier, more self aware, more emotionally potent, and unafraid to venture into the far reaches of the genre. Instead of just ghostly tales presented in the found footage format we get infinitely clever approaches to zombies, aliens, demons and, for good measure, spirits as well.
Johnny Depp and Armie Hammer assume the position of seekers and defenders of justice in the Old West.
I hate The Bling Ring ― except not really. Let’s start from the beginning.
