This is it guys ... the final episode of Flixistentialism as we know it. The gang plus some old (white) faces of Flixist past get together and reminisce on this long journey of a podcast we've all embarked on. There's fantasy...
The mob, a subject that has been covered almost every way you can think of. Glorified, glamorized, famous and infamous. We forget sometimes that the mob is a real thing, with real people, and real reasons for their perspective involvements. We forget the repercussions of said organization, not only to others in the community, but the people inside the mob as well. Rob the Mob does something special, something unique, and something that many other films are afraid to do: Tell its story, til the very bittersweet end.
I greatly enjoyed Himizu, another 2011 Sion Sono film released last week in NYC theaters, but there was something it lacked that I expected from that sort of film: sex. It had the violence (although it was definitely subdued in comparison to some of his other films), but there was none of the weird, creepy nudity found in some of his other films. I wasn't unhappy about it (it would have added nothing to that film), but I was surprised. When I checked out Guilty of Romance and randomly clicked on a part of the timeline, I found myself staring at a woman on all fours in a colorful room, presumably a love hotel, in the middle of that most intimate of acts.
And there was the Sion Sono I had expected. For better or worse, what Himizu lacked, Guilty of Romance has in spades.
I can see why Sion Sono was drawn to Himizu. The manga, which ran from 2001 to 2002, seems like exactly the sort of thing that would appeal to the man who made Cold Fish and Suicide Club. But that's not really a compliment.
Immediately after finishing the film, I went to read the manga. Usually I'm not particularly interested in checking source material after seeing an adaptation, but the film deals rather explicitly with things that hadn't taken place when the manga was written. And now, 43 chapters later, I can say that the film is indeed very different from the manga.
Need for Speed is in a tight spot. As a videogame adaptation it not only has to be a well made film, but also needs to please fans of the videogame series. It's got to do an odd little dance where it needs to show just enough evidence of its origin without it becoming overbearing or it succumbs to the same problems as other videogame movies had in the past.
You can argue all day whether or not Need for Speed is unfairly held to a higher standard of quality thanks to the unbelievable amount of criticism videogame movies get already, but this is what we've got to work with. So I guess the ultimate question is: Does Need for Speed fulfill your needs?
It's another good week of home video releases as the Best Picture winner, 12 Years A Slave finally hits. Along with that we have the best part of The Hunger Games saga, Catching Fire, Wong Kar-Wai's The Grandmaster, and if al...
At first glance, Child's Pose is making a political statement about the class divide present in modern day Romania. The narrative of a wealthy family trying to skirt its responsibilities to a poor family is heavily charged, and for much of the film's first half, I expected to open this review with some statement about how wealth and connections in the modern age can literally let people get away with murder.
But then things changed. The class thing became less important, and the story became a whole lot more personal, because Child's Pose isn't really a film about how much power the wealthy hold over the poor. It's about the depths of motherly love.
Any movie synopsis that includes "black comedy" and "David Koechner" is an instant sell for me. Toss in Empire Records' Ethan Embry and the two leads from Ti West's The Innkeepers and my expectations will be through the roof.
Cheap Thrills is in turns comedic, uncomfortable, and downright disturbing. Most of the times you'll find yourself laughing, you'll also be cringing. Ultimately, it begs the question "What would you do in this circumstance?"
3 Days to Kill is oddly complicated, and it has the potential to lose people right from the start. To understand this review you will have to keep that in mind, as what the movie appears to be and what the actual movie is are two totally different things.
With that said, you are going to want to see 3 Days to Kill, even if the ride to the end of this roller coaster is extremely bumpy.
I'm all for a mixing of genres. Comedy/horror? Golden. Dramatic comedy? Awesome. Sci-fi/action? Great. It usually works for the best. You get a little of one thing you like and then a bit of another. Pompeii is what happens when genre mixing goes horribly wrong, turning what could have been a decent disaster movie into some sort of melodramatic romance replete with an awkward remake of Gladiator.
The thinking seems to be that when you already know that everyone is going to die at the end it makes it kind of hard to make any plot interesting so why not try them all out and see if any stick. None do... other than Kit Harrington's abs.
I've realized something important in the past year or two: I don't really like period pieces. I like watching films from other eras and seeing them as they represent their own culture and time, but I don't really like seeing them try to reminisce about a better (or worse) point in history. The further back it goes, the less interested I am. There are exceptions to be made, of course, but they're few and far in between.
Almost Human is set in the late 1980s, which would be a strike against it, if it wasn't for the fact that its time period is all but irrelevant. It would be basically the same movie if it was set in 2013 as it is set in 1989.
Earlier this year I had finally caught up on Game of Thrones. Never seen the show before now, but after some boredom and prodding from others, I finally gave the show a shot. I was instantly hooked and blasted through three s...
I have a great fear, dear reader. A great fear that the new RoboCop film will become the next Dredd. I fear that it's a great action movie that's coming out in the doldrums of the movie season without a big enough marketing push and with a character that not enough people care about even though they should. A movie that deserves sequels, but won't get them because it doesn't make enough at the box office.
I have this fear so I'm putting this here so you don't even have to read very far to see it: Go see RoboCop. It deserves your money.
When monuments men was delayed from award season to a early February release it didn't cause too much concern. The line that the film wasn't quite ready seemed plausible, since there's no way a film with this cast, taking place in WWII and featuring Nazis (Nazis make movies better, see: Indian Jones trilogy) could really be all that bad. It would be a nice break from the January doldrums, right?
Not so much. The Monuments Men is a movie in need of a story, which is odd because the true story its telling should be story enough. The problem is it isn't, and no manner of Hollywood fluff to make the true story more "true" is really going to save it. What could is a bunch of banter between some of the best bantering actors in the business. Yea, not so much with that either.
I'm not the most knowledgeable comic book fan, but if I had any focus, it would be DC Comics due to their awesome cartoons I had growing up. And while I've been sad they're gone now, DC is currently trying to get back to thei...
As the best of 2013 continue to release on home video, we've got another particularly interesting week. First off is Dallas Buyers Club (a film filled with such great performances, it made my Top 15 of 2013 list), then About ...
I've never felt so totally lost watching a film spoken in my own language as I was watching 12 O'Clock Boys. It's bizarre, really, just how difficult to understand many of these characters are. The only close approximation I can think of would be Trainspotting, but at least I can feel like that one is foreign-ish, since it's from a different country. But 12 O'Clock Boys is not. It's just set in a culture that I am not a part of and have no connection to. In fact, I would venture to guess that 90% of the festival-going public who has seen this film so far can't really relate to the characters it follows.
That would be bad enough in a narrative film; it's potentially ruinous for a documentary.
I feel like I should hate That Awkward Moment more than I actually do. On paper, it seems like a real disaster. I mean, look at the title! Nine times out of ten, only inane dribble follows the phrase “that awkward moment…” So perhaps my lukewarm feelings towards the film come from a place of exceeded expectations.
However, even after you realize this isn’t going to be the worst thing in the world, it’s still a very easy film to hate. I don’t, but I can’t blame you if you do. The leads bounce off each other quite well, so there’s a good chance that will carry the movie for you, but it’s hard to escape the underlying emptiness that seeps into every pore of this film. There are flashes of brilliance, make no mistake, but they’re mired in a fog of unrepentant, smug, off-putting masculinity.
This week's still a good week, folks. Heading up our new releases are Rush (which was conspicuously nominated for a Golden Globe), Jackass Presents: Bad Grandpa (which is conspicuously nominated for an Academy Award), Cloudy ...
Like last week, it's time to play catch up as the best and brightest of 2013 continue to hit home video. We have Captain Phillips, which Tam Honks seems to be wonderful in, Bad Milo!, the only film about a butt demon this wee...
Ahhh, the left over goodness of January. The month where every movie goer's hopes are so low that even the most banal film can seem like a worthy excuse to head to the theater. That's where an established name like Jack Ryan can really pull folks in without doing too much.
It's not like Jack Ryan is a banal character. The Tom Clancy spy has been in some of the best spy thrillers ever made, but that was over two decades ago and his last foray into cinema, The Sum of All Fears, didn't exactly ignite the character back to life.
Enter another reboot of the character. Jack Ryan: Shadow Recruit is the first of his films to turn the name into a franchise, which is what they studio is clearly attempting to do. The question is can they make a 90s hero into a new millennium franchise or is there a reason the movie was released in January.
There's a thin line sometimes between buddy cop movies and comedy cop movies. Usually it's dependent on the amount of action and whether the majority of the time is spent trying to get laughs. When a film tries to tip toe on this line disaster can strike, especially when the movie isn't funny in the first place.
Ride Along is a comedy movie with cops in it, but it desperately wants to be a buddy cop movie. Unfortunately what it is and what it wants to be don't jive at all and everything just ends up in a crumpled mess. It's also just not funny.
Looks like last year's award winnings movies and indie releases are finally hitting home video. And each of them is worth a watch. First off there's You're Next, a horror film that came out of nowhere to become one of last ye...