This week's viewings include a low-life criminal, cannibals, bears, an ostrich, hoes in every area code and more!
Death Proof is easily Quentin Tarantino's most under appreciated film, even by the writer/director himself.
Fox can send a thank you card to Sony for already claiming the dubious honor of worst video game movie of the year with Pixels, but that doesn't mean Agent 47 is any good.
Phoenix builds to one of the best final scenes the screen has yet seen.
Leave it to China to breathe new life into both the romantic-comedy and road-trip sub-genres at once in Hao Ning's latest film
I'll forever be infatuated with genres and how certain films fit into convention or otherwise break the mold. This week I was blessed with four trailblazers.
What I do is the furtherest thing from reviewing a film in a vacuum. I'm constantly researching what the people involved have done before and the easiest link to trace is the director him/herself.
How much you know going into a film can make all the difference in the world.
This was a week of fascinating titles. Some simply give a name to the protagonist, others describe important object, it might describe the place where the film is set or refer to something more sinister just below the surface.
The Universal monsters were the cinematic universe of their day (something that is being rebooted in our own day) and is as crucial to one's study of motion pictures <as you name it>.
What is the single most important aspect of a film? There's no good answer as any given element done poorly can make a production fall apart at the seams.
What's in a title? How much does it tell us about the movie?
These films demonstrate the powerful impact of a cold opening. Few things can pull the viewer in like the intrigue of an opening scene or shot and the innate desire to orient ourselves.
This group offers unique depictions of America's major cities: New York, Los Angeles and Washington, D.C.
I'm prone to declare that the best place to see any given film is in the movie theater. However, some of last week's films make an excellent case for home-viewing.
What to show an audience? The Incredible Hulk wisely forgoes a first act "origin story" that superhero filmmakers seem to think is mandatory.
Each of these films deal with characters who possess unique abilities and use them for good or evil against others.
Ensembles, teams or just a rich cast of characters make up the population of any film's world. Through them we imagine what the rest of the denizens of Basin City or a fictional mid-West town are like.
The dynamics of pairs and parties can often prove to be the secret ingredient in a film.
While only one of this crop was a sequel, it's all the more telling to see how dependent each of these films is on those that have come before it.
Hercules surprised many over the weekend of its release in that it wasn't as tired and generic as it sounded to be.
The writing process itself is vital to the beginning and ending of any given film, from a screenplay (blueprint) to a review (inspection).
This week's bunch is a testament to how acting can make or break a film. And in a rare case of events, each film here was significantly aided by some remarkable onscreen talent.
I am intrigued by where films fall in a filmmaker's body of work and how that manifests itself through the scope of time.