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Screenings photo
Screenings

See Tarzan early and free


DC, Baltimore and Richmond screenings
Jun 27
// Matthew Razak
When is Hollywood going to stop trying to make Tarzan happen? At least this time we get a decent cast headlining the film and some really impressive work by Alexander Skarsgård's abs. You can drool over his si...
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Darth Vader returns in Roque One: A Star Wars Story


Or does he?
Jun 23
// Rick Lash
Darth Vader is back. Again (probably). It seems every round of Star Wars moviemaking must come complete with a healthy dose of the dark helmet. He is after all, arguably, Star Wars’ most iconic character. The revelation...
Ouija: Origins of Evil photo
Ouija: Origins of Evil

First trailer for Ouija: Origin of Evil spells out B-L-A-N-D


Stop trying to make Ouija happen, Hasbro
Jun 23
// Nick Valdez
Remember Ouija? As part of toy company Hasbro's world domination, they teamed up with Blumhouse productions (Paranormal Activity, The Purge) and first, and only, time director Stiles White and released a terribly blah foray i...
Ghostbusters photo
Ghostbusters

Listen to the new and terrible Ghostbusters theme from Fall Out Boy and Missy Elliott


Eh eh eh eh eh eh eh eh eh eh eh eh eh
Jun 23
// Nick Valdez
Regardless of how you feel about the Ghosbusters or the upcoming reboot (which I hope succeeds so we get more movies like it), we can all at least agree that the original film's theme was pretty good right? In terms of recogn...

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Tom Cruise sequel Jack Reacher: Never Go Back has a trailer


Jun 23
// Rick Lash
Since last we saw Jack Reacher in theaters in 2012, Jack Reacher has returned to the printed page four times in Never Go Back (2013), Personal (2014), Make Me (2015), and Night School (2015). Maybe that's because author Lee C...
Power Rangers photo
Power Rangers

Bryan Cranston cast as Zordon for the Power Rangers reboot


"May the power protect you."
Jun 21
// Nick Valdez
About a month back I wrote a long editorial about Saban and Lionsgate's upcoming Power Rangers reboot. Until I had seen the costumes, I was pretty much all in for the film. It was making good moves otherwise. The team is comp...
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See The Shallows early and free


Washington DC screenings
Jun 21
// Matthew Razak
Sharks are scary and Blake Lively being hunted down by one could be scary too. This is actually an interesting take on the whole shark attack genre, with the focus more on tension than actual attacks so it should be an intere...
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R.I.P. Anton Yelchin (1989 - 2016)


Jun 19
// Geoff Henao
Guys, this one hurts a little more than the standard fare of actor/celebrity deaths. Anton Yelchin, one of Hollywood's most talented young names, has died at the age of 27 due to a freak accident early yesterday morning. Yelc...
Screenings photo
Screenings

See the The Free State of Jones early and free


Washington DC screenings
Jun 17
// Matthew Razak
The Free State of Jones might be the perfect Gary Ross movie. The director is skilled at both underdog stories and stories based on actual events. Also, it has Matthew McConaughey laying on his thickest southern accent. ...

Review: Terrordactyl

Jun 17 // Rick Lash
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In time for the weekend: B-movie review
With a clever pun served on a silver platter, Terrordactyl presents itself as a straight to video B-movie masterpiece ready to absorb two hours of your Saturday night. Hoping that prehistoric mayhem might be delivered with he...

NYAFF 2016 photo
NYAFF 2016

The 2016 New York Asian Film Festival Is Almost Here


June 22 through July 9th
Jun 14
// Alec Kubas-Meyer
Is it really that time again already? Wow. Apparently it is. NYAFF time. For the past five years, we have been covering the latest and greatest Asian films as brought to us by the swell folks at Subway Cinema, and this year i...
Screenings photo
Screenings

See Central Intelligence early and free


DC, Baltimore and Richmond screenings
Jun 14
// Matthew Razak
Dwayne Johnso makes things good. He's just fun to watch so I have some hope for Central Intelligence being funny. It's clearly a bit hackneyed, but it could work. You can find out if it'll work with some passes for a screening tonight. Just head below and click the links. Get there early so you can get seats and then come back and tell us all about it. 
Moana Trailer photo
Moana Trailer

Here's the first trailer for Disney's Moana


Favorite film of 2016, calling it now
Jun 13
// Nick Valdez
Disney's animation studio has been on a Pixar like roll lately with Frozen, Big Hero 6, and Zootopia netting huge critical and financial success. Their newest princess film Moana already blows those films out of the water.&nb...
MST3K contest photo
MST3K contest

Win a $2700 prize pack to see the RiffTrax Live: MST3K Reunion in Minneapolis


I don't care! (No, but I do)
Jun 13
// Hubert Vigilla
The MST3K Reunion show on June 28th promises to be a swell time. It brings together the great bad-movie riffers from the Joel and Mike eras of the show as well as new host Jonah Ray. Tickets for the actual event in Minne...
Warcraft box office photo
Warcraft box office

Warcraft bombs at the domestic box office but is a hit in China


Oh baby, just you shut your mouth
Jun 13
// Hubert Vigilla
Universal may have been right to think that Warcraft was a problem movie. No, not because Duncan Jones made Generic Fantasy Film: The Movie. Depending on how you look at it, Warcraft is either a Universal boondoggle or a...

Review: The Conjuring 2

Jun 10 // Nick Valdez
[embed]220610:42965:0[/embed] The Conjuring 2Directors: James WanRating: RRelease Date: June 10, 2016  Inspired by the events of the Enfield Poltergeist in 1970s London, and six years after the events of the first film, Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren find themselves in London where single mother Peggy (Frances O' Connor) and her four children are experiencing paranormal activity in their home. When the youngest, Janet (Madison Wolfe), begins acting strangely and claims to be the home's deceased previous owner, Ed and Lorraine are dispatched by the church to prove whether or not there's actually a spirit in their home. But in that search, darkness from the Warren's past comes back to wreck things for everyone.  As a sequel, Conjuring 2 makes a few interesting choices. First of all, it's left behind the metaphysical horrors of the first film and instead chooses a more physical force for the Warrens to combat with. In comparison, the only physical interaction the Warrens had with a ghost in the first film were a few things flying around the finale's exorcism. With a physical force resembling something from Wan's other well known horror series, Insidious, Conjuring 2 is directed with a more action heavy flow. The film's opening scene, which is the most important, tone establishing scene of any horror film, is punctuated by snaps so loud and at such a high frequency the scene loses the terror momentum. It abuses the "jump scare" (a sudden appearance of something punctuated by a loud noise) so much it exaggerates the action of the scene rather than revel in the horror. That's not necessarily a bad thing since the rest of the film adapts to this newer, more heightened pace and tone, but there's definitely a loss.  The newer direction undervalues the film's particularly creepy visuals. Now that there is something concrete to defeat, the tension comes from whether or not the Warrens can defeat the foe rather than the poltergeist in question getting under the audience's skin. Wan directs the brunt of the film's fear factor toward its characters and thus makes it "less scary" overall to the audience. It's fulfilling the need for suspense (and does make for a more gripping film once it gets going), but backs away from true terror. I am also not sure why it's rated R to begin with since most of the film's horror visuals are toned down in favor of this new, more exciting direction. This is also the reason comparisons to the first film are apt since it tends to cruise through the same plot points, hoping this new tone would make the story different. But try as it might to change itself, The Conjuring 2 never fully commits to either direction. It loses horror for its action, but never makes that action as compelling as it could be.  Conjuring 2 is just confused. What's most interesting about this confusion is that it births interesting elements where a more focused take would have benefited. When Wan truly dives into the horror setting, you get some unique and revelatory sequences (like with the upside down crosses or the painting scene). But it is in between horror build up that lacks the necessary pace to keep the film enthralling until the Warrens get there. For a chunk of the film I found myself waiting for the Warrens to pop in again rather than being creeped out by the setting. With such a confused take, nothing in the film quite grabs. The setting, the plot, and every character but Ed and Lorraine are entirely unremarkable. But when the Warrens finally show up to do some things, the film's action-y pace takes hold and it gets a shot in the arm.  Since The Conjuring 2 loses its horror focus, it is not too compelling when an action isn't taking place. But in that same breath, there are enough unique individual elements to make it enjoyable overall. To put it bluntly, the first film was "scarier" but the sequel handles itself better. It makes the kind of choices with its direction that serve to better the series moving forward.  To think we will get a series where an exorcist couple throws witty banter back and forth as they fight demons three or four films from now. There is just too much potential to miss. 
The Conjuring 2 Review photo
Conjures a good time
The Conjuring became quite the hidden gem when it was released three years ago. A nostalgic return to classic horror haunting roots, it breathed new life into the genre by shifting the focus to paranormal hunters Ed and ...

Stranger Things photo
Stranger Things

First trailer for Netflix's Stranger Things


Like old school Spielberg made a TV show
Jun 09
// Matthew Razak
When J.J. Abrams delivered Super 8 to us I reveled in its unabashed homage of classic Spielberg adventure films. I kind of wondered why it hadn't kicked off a bit of a renaissance of the 1980s supernatural film, but alas...

Review: Warcraft

Jun 08 // Matthew Razak
[embed]220615:42967:0[/embed] WarcraftDirector: Duncan Jones Rated: PG-13Release Date: June 8, 2016  I will say off the bat that I have not been involved in the Warcraft universe in many years, and even then only with the RTS games, but I'm assuming that there's a very in depth, thought out and complicated world in place by now. It may help the film a lot if you know about this world, but coming from an outsider's eyes the world of Warcraft (sorry) feels hollow and cliche. Maybe that's because the game's basis was originally much the same, but however the game's world has evolved the movie can't capture it, and it's commitment to trying to do that may be it's greatest weakness. We open on some impressively done CGI and motion capture orcs as we're introduced to Durotan (Toby Kebell), a chieftain who has reservations about the obviously-evil Gul-dan's plan to use a an evil green magic gate to invade the human world as the orc's world is dying. Evil plan executed, a small team of elite orc warriors, some corrupted by said evil green magic, enter the human world and begin to build a new gate so as to open a path for the rest of the orcs. The humans (and other Alliance creatures) quickly realize they're being attacked and call upon  powerful magic being The Guardian (Ben Foster) to help protect them. Things are amiss, however, and the battle rages on with knight Anduin Lothar (Travis Fimmel), magic guy Llane Wryne and sexy orc hybrid Garona (Paula Patton) taking the lead in orc killing.  The overarching premise is that there are good orcs out there. Durotan attempts to broker a peace with the humans as he realizes that Gul-dan's magic is evil and is what caused the death in the orc home world. It's clear this theme of telling both sides of a war is what Jones really wanted to do with the film, and at points he almost succeeds. There's a very interesting Game of Thrones political fantasy buried deep in Warcraft, but it never gets the chance to see the light of day. Warcraft has a pretty slavish dedication to the look and feel of the games, and that does it no favors. Instead of the awe-inspiring vistas of The Lord of the Rings the overall look of the film feels cheap. Armor and costume design feel like they were pulled out of a high-schooler's math class doodles, which, in fairness, most likely would be influenced by World of Warcraft. Sets are often small and fake looking and overall it just feels very cheap, like we're watching something out of early 00s SyFy. You've seen almost all of this before and done better.  It's especially odd because for the most part the orc stuff is absolutely fantastic. Character design, animation and setting all feel fresh and interesting. The motion capture and CGI technology for the orcs is spot on, though can sometimes hit the uncanny valley really, really hard. When that combines with the plastic-looking human world the entire affair feels like a shell of a fantasy world: empty except for pretty pictures and ideas too big to be executed well. The screenplay is unfortunately unbalanced as well. At points it actually shines, and you can see Jones' skills with handling genre material with a deft touch. The next moment its as clunky as as the massive orcs who are speaking it. Characters and their motivations get picked up and dropped as easily as the plethora of human knights thrown about by orcs. Massive plot points are glazed over and world creation often feels as if it was forgotten. Part of this stems from the film seeming to assume that we all have a basic foundation in Warcraft lore and part of it stems from the fact that sequels are blatantly already in the works. The story starts to stretch thin by the end and the conclusion really stops making much sense. It is far from the worst fantasy story ever put to screen by miles, but it never rings with the emotional power of truly great fantasy film making.  Jones does his best with his direction. It's easy to get into the action as he weaves together some impressive battle sequences, even using some top down aerial shots to reflect Warcraft's RTS roots. He actually does some really cool stuff that makes the film fun to watch even when it's not working as well as it could. It's just another way that glimpses of what the movie could be break out before being buried under the hollowness of it all. Have I used the term hollow enough? Warcraft isn't really a bad movie, it's a hollow one. It's surprisingly well executed visually at times, but there's nothing behind the pretty pictures. Its story is actually intriguing, but it never feels important. Its characters have depth to them, but it's never shown. Its not a mess because there is nothing to spill. The world of Warcraft (sorry, again) is a big, pretty, empty shell. 
Warcraft photo
Not one reference to Leeroy Jenkins
When Warcraft (then World of Warcraft) was first announced with Sam Raimi directing, I thought that was pretty perfect. Raimi has a deft touch for handling things that are slightly absurd. His almost tongue-in-...

Man vs Snake trailer photo
Man vs Snake trailer

Watch the trailer for Man vs Snake, which may be this year's King of Kong


Diabetes of Justice
Jun 06
// Hubert Vigilla
King of Kong: A Fistful of Quarters was highly entertaining (even though the filmmakers fudged a lot of the facts). Much of that was thanks to the clash of personalities between Billy Mitchell and Steve Wiebe and the obsessiv...
Pacific Rim 2 photo
Pacific Rim 2

Pacific Rim 2 comes roaring back with John Boyega


Twist: he's playing a Kaiju
Jun 06
// Matthew Razak
Man, did I want a Pacific Rim 2 to happen. Not because I especially loved the first one, but because I thought it wasted a ton of potential that a second move could capitalize on. It didn't look like we ever would see a ...

Review: Teenage Mutant Ninja Turtles: Out of the Shadows

Jun 03 // Matthew Razak
Teenage Mutant Ninja Turtles: Out of the ShadowsDirector: Dave GreenRated: PG-13Release Date: June 3, 2016] If you saw the first move you know that the films definitely bumped up the realism of the turtle design, and threw in a sexy April O'Neil (Megan Fox). The basics of the turtles are still the same, though. We find Leonardo trying his best to learn how to lead; Donatello acting all nerdy; Raphael having temper issues; and Michelangelo providing comic relief and pizza. The Shredder escapes from imprisonment with the help of Dr. Baxter Stockman (Tyler Perry) and opens up a portal to another world where Krang, an evil brain housed in a robot body, strikes a deal to bring his Technodrome to Earth. Meanwhile, Casey Jones (Stephen Armell) shows up to beat up bad guys as well, like the new created Bebop (Gary Anthony Williams) and Rocksteady (wrestler Sheamus). It's a plot so contrived  and cliche (*cough* Avengers *cough*) and stupid it feels torn right from a Saturday morning cartoon, and in this case I just can't be angry at that. When the first film worked it was when it was focusing on the turtles themselves and this is once again true here. Despite a clunkly script that basically tells the actors to say every emotion they're feeling out loud, the filmmakers once again nail the ninja turtles themselves. While their character arc is simply a retread of the original's plotline (brothers argues, brothers come back together to fight bad guy), it plays well thanks to some great motion capture performances and a general feel for the characters. It's fun to watch Mikey crack wise while Raph gets angry and stomps off. They also surprisingly nail Bepop and Rocksteady, making the two as comically idiotic as they are in the cartoon, and pushing the kid-geared humor up a notch (fart jokes, slapstick, etc.) At it's base the movie just gets the turtles and villains, even if it's attempts at almost everything else are ham-fisted.  Well, that's not entirely true. Much like the first movie the action sequences in this are pretty impressive. Possibly thanks to the entirely CGI makeup of its heroes the move pulls some ridiculous stuff off including a fight in an cargo plane that's fantastic. The turtles don't get to show off as much of their actual ninja fighting skills this time around, but the big action set pieces are a blast to watch. Plus, the turtle van makes an appearance so that was my childhood dreams come true. This is director Dave Green's first big action film, and at points it's clear he needs some practice getting action to flow together, but there's promise there and an eye for what makes action work.  Outside of the turtles things are a little rougher. Megan Fox's April seems to have only made it into the movie for exposition and eye candy, the latter of which is a bit contradictory to the clear target audience of the movie. Armell's Casey Jones is charming enough, but that's really only because Armell is charming, not because of the character himself. The screenplay does no favors to either character passing most of the good lines over to Will Arnett, returning as Vernon Fenwick. Somehow Laura Liney also accidentally accepted a role in the film. I think she may have been drugged, but it's pretty clear she doesn't want to be there. Out of the Shadows doesn't quite work as well as its predecessor overall, either. It's very clear that now that they've got the green light to move forward with the series they want to make their own ninja turtle universe. Baxter, Krang and Shredder are all set up for returns, which is great, but the problem is the the film sometimes feels like its playing for the future instead of focusing on the film itself. That's pretty evident in the movies piecemeal plot and often overbearing exposition.  Still, when it comes down to seeing the ninja turtles in action the movie delivers. While many of the same issues that the first film had are still present, and at times worse, Out of the Shadows delivers the team of mutants as they've should be. It's a fun, if not entirely well executed, bit of cinema that's geared not towards the elder nostalgia nerds, but the children who it probably should be. 
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These aren't your turtles
When the Teenage Mutant Ninja Turtles reboot happened I was mostly just worried since I'm of the age where I like to pretend that my generation can lay claim to the heroes in a half shell. But that's pretty ridiculous co...

Review: Popstar: Never Stop Never Stopping

Jun 03 // Alec Kubas-Meyer
[embed]220607:42964:0[/embed] Popstar: Never Stop Never StoppingDirectors: Jorma Taccone, Akiva SchafferRelease Date: June 3, 2016Rating: R Popstar: Never Stop Never Stopping is a mockumentary, and a great one at that. Following, primarily, the story of Conner 4 Real, a member of the Style Boyz, who broke off on his own after a fight with whoever Akiva Schaffer played. (Not gonna lie, I don't remember his character's name or Jorma Taccone's; then again, I probably wouldn't remember Conner's if it hadn't been seared into my retina from the repeated viewings of "Finest Girl.") Anyways, he's got a documentary being made about his life to coincide with the release of his second album. People went crazy for the first one, and now he's trying to top it, by hiring a metric fuckton of producers and making something that just... doesn't work. (Except to me, obviously. I thought it was all gold, but I understand why the fictional humans in this mockumentary might not take to it.) This is the first mockumentary I've seen in a while, or at least the first one I remember seeing. It was big for a while and then kinda fell by the wayside. I get that. The joke can get stale pretty quickly, which makes Popstar's brisk, 90-ish minute runtime perfect. There's enough variety to keep you entertained but not so much stuff that it ever feels padded or overlong. The only jokes that go on are the ones where that is, in fact, the joke, and the film only goes to that well a couple times (i.e. not enough to be irritating or gratuitous).  One of the potential issues with the format is that there are only so many places it can go. And, sure enough, from the moment Popstar begins, you can (successfully) guess every single story beat. Nothing about the narrative is even sort of surprising... but so what? For a film from The Lonely Island, that's pretty much exactly what I wanted. I wanted something that felt good and comfortable and also made me laugh while putting some new music into my head to obsess over for a little while. And the film absolutely succeeded on both those counts. The "Finest Girl" song actually plays a big early role in the film, and it was kinda cool for me to see how much different and also the same the "In Concert" version of the song was compared to the music video. And I loved his song about Equal Rights (I'm so excited for when that hits Spotify), being Humble (which is already there), the Mona Lisa (ditto), and everything else. Seriously, the music here is just stellar from start to finish. If this was actually just a concert film, I would still have loved it. [When this was written, the album hadn't hit Spotify yet. It's now up, but the Equal Rights song is not available. Which is hot garbage. - Ed] But there's more to it. It's a damning indictment of our modern pop culture and the way we treat our stars. (Sort of.) Conner gets big, in part, because he connects directly with fans. He records himself brushing his teeth and posts it. Everything is out there for the world to see. As someone who watches at least a couple of Youtubers consistently, it really struck a chord not just because it was funny but because it was real. Everything about the way his persona goes from public idol to public ridicule feels genuine, even if it's turned up to 11. So many moments are exaggerated versions of real headlines. (The music-in-your-appliances dig at Apple and U2? Spot on.) It's a parody of modern music, but it's also a celebration of the same. You can tell that everyone involved is genuinely enjoying what they're doing. This extends to an expectedly large cast of cameos, who really help sell the whole thing. The likes of Usher, Nas, and A$AP Rocky all help to ground the film in a bizarre alternate reality, and every one of them puts in a killer performance. I don't really want to ruin all the cameos, and we're not talking Muppets-level stuff here, but it's a pretty packed group, many (if not most) of whom are playing themselves. Usher is particularly compelling, and when says that it was the Style Boyz who made him want to start dancing, for just a moment, I totally believed him. Because, like, duh. The Donkey Roll is an awesome dance. How could it not inspire Usher to become Usher?  It's been a good Spring for comedies. Between The Boss (which I liked, despite knowing that no one else does), Neighbors 2 (which Nick didn't like but is awesome), and The Nice Guys (which isn't as good as Neighbors 2 and has some issues with the way it handles the "hilarity" of death but is the most genuinely original comedy I've seen in a while), there's been a lot to recommend. And though I recommend all those films, to varying degrees, Popstar stands above. This is The Lonely Island at the top of their, years after leaving SNL and mostly dropping off the map. They're back and as good as (if not better than) ever. If you don't like The Lonely Island, this film won't convince you to. But if you do, you're going to love each and every moment.
Popstar Review photo
Amazing 4 Real
A couple weeks ago was the finale for the forty-first season of Saturday Night Live. At one point, fairly late in the show, a familiar title screen came up: "An SNL Digital Short" For people who loved everything from "Lazy Su...

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Bill Skarsgard cast as Pennywise the clown in new adaptation of Stephen King's It


Because people love clowns
Jun 03
// Rick Lash
The last time Stephen King's "It" was adapted to film, I was still in diapers (i.e. I was 10). The book was made into a two night television event which was largely forgettable outside of Tim Curry's epic performance as Penny...
Captain Marvel photo
Captain Marvel

Brie Larson in the lead for Captain Marvel


Must... not... make... marvelous pun
Jun 02
// Matthew Razak
Things are going well for Brie Larson. She got that Oscar thing last year and now it looks like she'll be landing one of those coveted superhero role things. Those tend to make actors a lot of  money. Larson is reportedl...

Review: X-Men: Apocalypse

Jun 02 // Rick Lash
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My mind had accepted I’d not be seing X-Men: Apocalypse in theaters. I hadn’t seen X-Men: First Class, or X-Men: Days of Future Past in theaters, and I usually see comic book movies in theaters. Go big or go home....

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Disney casts Emily Blunt in lead in Mary Poppins sequel


Jun 01
// Rick Lash
Back in September, we let all our readers that love strange bag ladies who hand out drugs to kids know that Disney had heard their pleas and decided to release a 2nd "Marry Poppins." (I mean, seriously, she's been Poppin' pil...
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NEWS FLASH: Allegiant is a terrible movie, admits Lionsgate CEO


Tell us something we didn't know
May 27
// Rick Lash
In the interest of fairness, journalistic integrity, and the pursuit of happiness, I will admit that I've not seen the Liongsgate CEO, Jon Feltheimer, actually say The Divergent Series: Allegiant is terrible. Or even bad. Rat...
Fruit Ninja movie photo
Fruit Ninja movie

They're making a Fruit Ninja movie, may God have mercy on us all


All is lost
May 23
// Hubert Vigilla
It was bound to happen. After The Angry Birds Movie came out (and did well at the box office), it would only be a matter of time before other time-waster mobile games were turned into feature films. Enter Fruit Ninja. Yes. Th...

Review: Hard Sell

May 23 // Rick Lash
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I want to say nice things about this film. That's the feeling I'm left with as I'm watching it. I believe I understand where the Writer/Director, Sean Nalaboff, is coming from. Hard Sell is "a coming-of-age tale ... [abo...

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Star Trek Beyond gets a second trailer


May 23
// Rick Lash
Back in December, Paramount released the first trailer for Star Trek Beyond and basically it told us one thing: it's a sabotage! That was according the Beastie Boys track of the same name that was the entire musical score for...
Beauty and the Beast photo
What? You gotta admit it's catchy.
I'm still weirded out by the fact that Disney is making adaptations of their adaptations of famous fairy tales, but so far they've been pretty good or even revolutionary so let's roll with it. The next one up is Bea...

Farewell Mr. Bunting photo
Farewell Mr. Bunting

Farewell Mr. Bunting: Watch SNL spoof Dead Poets Society--seriously, just watch it already


I sing my song for all to hear
May 23
// Hubert Vigilla
I'm not sure about kids today, but high school students of a certain age always wound up watching Dead Poets Society in English class. Its memorable final scene features a class full of boys bidding a powerful adieu to the ma...
Angry Birds box office photo
Angry Birds box office

The Angry Birds Movie knocks Civil War from top of the box office


This header image will never die
May 23
// Hubert Vigilla
Over the weekend we saw The Angry Birds Movie duke it out with Captain America: Civil War (#TeamBird v #TeamCap). #TeamCap believes in personal freedom and accountability in the face of a system that may b...

Review: The Angry Birds Movie

May 22 // Nick Valdez
[embed]220589:42956:0[/embed] The Angry Birds MovieDirectors: Clay Kaytis and Fergal ReillyRating: PGRelease Date: May 20, 2016  At the center of The Angry Birds Movie is Red (Jason Sudeikis), a bird with an unchecked anger issue because he's been alone his entire life. He's been separated from the rest of the birds in town until he's forced to spend time in anger management which leads him to his future partners in crime Chuck (Josh Gad) and Bomb (Danny McBride). When a ship full of pigs, led by the sneaky Leonard (Bill Hader), pulls up to bird island claiming to be friendly, Red leaves in search of the legendary hero known as Mighty Eagle (Peter Dinklage) for help. After shenanigans from the pigs, it's up to Red, Chuck, and Bomb to find the hero and save the island.  Before getting into the nitty gritty, I want to take some time out to comment on how much work went into Angry Birds. It is honestly refreshing to see decent production and time on what seemed like a total cash-in project (from its inception to its last couple of trailers the film reeked of things other than quality) has . The animation is slick, the bird designs have a simple, easy to manipulate geometry (utilizing both hard angles and softer, cutesy spherical shapes), and the cast handles the material as well as they can. Sudeikis has already proved his capacity to lead a film time and time again, and now he can add voice over work to that list. Red's as charming as he needs to be without the script resorting to the same types of "kooky" dialogue the rest of the characters are subjected to. None of the actors come across as phony, with the weakest performance coming from Hader's Leaonard. Then again, even a weak Hader is better than you'd expect so it's a roundabout positive.  Once you get past the bread, you realize there's not a lot of meat on this chicken sandwich. Trying as hard as the visuals might, The Angry Birds Movie simply can't shake off how generic it is. It may not have the luxury of a videogame narrative to adapt, but that doesn't excuse a lot of its choices. While the freedom of a creating a whole universe brings about some neat little oddities differentiating it from other animated films (like anger management having weight in the plot, for example), the same is true for the opposite end of the spectrum. Quite a few quirks and dialogue choices should have been reconsidered. At one point, Angry Birds crosses the line into full-on annoying territory when Chuck and Bomb degenerate into incessant noise making machines for two minutes just so it can get a reaction from its kid audience.  The Angry Birds Movie is at a constant state of flux. Battling between originality and what's easier to write, the film is always holding itself back. In fact, it even takes a hit whenever it has to reference the videogame series. Like when the series' famous slingshot is introduced, it feels forced in. But in that same breath, that very slingshot leads to a well storyboarded climax. So it's an odd toss up between the film's potential audiences. Rather than create a film that's ultimately appealing to the widest demographic possible, you have a film that appeals to folks with select scenes. Some scenes will appeal to the two year olds who like to repeat funny sounds, the three year olds who like gross out humor, the adult who appreciates good animation, or that one parent in my screening who lost his mind the entire time. I'm glad at least that guy had a good time.  I'd hate to end a review with nothing more than an "it could've been worse" sentiment, but honestly that's all I feel about The Angry Birds Movie. It came, it went, it's probably coming back (or at least confident in a sequel enough to promote it during the credits and the extra scene available on mobile phones), and yet it doesn't really deserve any hearty emotions.  The Angry Birds Movie is not terrible enough to earn your rage, but it's not good enough to earn your praise either. A decent outcome from a numerous range of negative potential outcomes earns the film a small victory. 
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Nothing to get too angry at
With videogame adaptations becoming more common, it was only a matter of time before we would end up in this situation. A videogame popular for its gameplay and mechanics rather than its story would get the big screen treatme...

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Thor Ragnarok Cast Grows, Adds THE HULK & more


May 20
// Rick Lash
Marvel just announced some major additions to its third Thor film, Thor: Ragnarok including Cate Blanchett, Jeff Goldblum, Karl Urban, and Tessa Thompson. Oh, and another guy you might have heard of, Mark Ruffalo, as a l...

Review: The Nice Guys

May 20 // Matthew Razak
[embed]220584:42955:0[/embed] The Nice GuysDirector: Shane BlackRated: RRelease Date: May 20, 2016 If you've seen the cult classic Kiss Kiss Bang Bang you know that Sean Black knows his way around the tropes and cliches of noir film and knows how to subvert them beautifully. His return to the genre is exciting to say the least. The Nice Guys starts up as many noir films do with narration from one of our lead private eyes: Jackson Healy (Russell Crowe). He is soon joined in his narration efforts by Holland March (Ryan Gosling) as the two team up to find a missing girl -- Jackson out of misplaced duty and Holland out of greed. Tagging along is Holland's daughter Holly (Angourie Rice). A 70s, drug-fueled mystery unfolds replete with femme fatales, conspiracies, tragic downfalls and everything else you'd expect from a noir. Stir in some buddy cop banter (Black's other genre strong suit) and you've got yourself a perfect example of neo-noir on your hands. There's a lot to unpack here, especially since Black is clearly spending a lot of the movie simply deconstructing the noir genre. Sadly, the movies plot seems to suffer because of it. While it's two lead characters are fantastic, it's comedy crisp and its direction clever the film's story never lives up to any of it. Relying far too heavily on deus ex machina and cheap plot twists the mystery seems to be more in service of the themes than the other way around. That might be fine for an art house film, but this isn't that and it makes watching the movie start to get a bit boring. Thankfully, Crowe and Gosling are pretty fantastic together. Their chemistry takes a bit to work up, but once it does they're flinging insults off each other wonderfully. It helps that the two characters are really representations of the two major facets of noir gumshoes. Crowe's is the hard-edge moral code that classic noir anti-heroes abide by and Gosling's is the rampant self destruction and selfishness that makes them not entirely likeable. Together they basically make Humphrey Bogart in 70s suits and Hawaiian shirts. It's a wonderfully smart look at noir film archetypes made even more fun by the charm the two actors bring to the role.  On the other hand you have Holly, whose character seems almost unnecessary except to move the plot along. Her character is the worst aspect of the buddy cop movie (the unwanted sidekick) and feels especially out of place in a film crammed full of adult content. The emotional ticks she plays a part in could have been executed just as easily without her, and her involvement in some of the scenes feels inappropriate at times. She also seems out of place overall with the tone and genre of the film. A bit of 90s buddy cop movie pushing in a bit too much on what should be a noir with just a sprinkling of that genre.  I will say that the 70s are the perfect setting for neo-noir. The last decade of abandonment tinged with the knowledge that all the drugs, sex and crime we're leading to a crescendo that was the 80s. The movie doesn't quite make enough of its setting except to play off the emergence of pornography in cinema and show of some epic 70s fashion. It's another aspect that works really well for the noir part of the film, but feels like a gimmick when the more buddy cop tones play in.  The Nice Guys is a strange combination of what Sean Black does best, but his neo-noir feels awkward mixed with buddy cop. Maybe he was emboldened by his success at mashing together genres in Iron Man 3, but in this case Black should have stuck with what he does best: turning noir on its head in order to redefine it.
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Shane Black doing it oh so nice
There's something a little off about The Nice Guys. It should work really well. Two great actors who play off each other fantastically with director/writer Shane Black bringing his talents back to the neo-noir genre. Plus, it...

Review: Neighbors 2: Sorority Rising

May 20 // Nick Valdez
[embed]220574:42953:0[/embed] Neighbors 2: Sorority Rising Director: Nicholas StollerRating: RRelease Date: May 20, 2016  A few years after the events of the first film, parents Mac (Seth Rogen) and Kelly (Rose Byrne) are selling their home because they're expecting their next child. But not realizing what they had agreed to, the two end up in escrow. Meaning they have to keep their home buyer friendly for 30 days lest they end owning two homes. At the same time, Shelby (Chloe Grace-Moretz), Beth (Kiersey Clemons), and Nora (Beanie Feldstein) are three college girls who find out sororities aren't allowed to throw parties. Deciding to start a sorority of their own, and with the help of first film antagonist Teddy (Zac Efron), they move in next door to Mac and Kelly. After a series of shenanigans, Mac and Kelly once again find themselves in a prank war against the rowdy college kids next door.  Although Neighbors 2 tries its best to be different, it falls into the same traps most comedy sequels do. Given the nature of comedies in general, with each of them intentionally being a one-off story, all any sequel can do is try and capture what worked before and improve what did not. So if you enjoyed the first film, you might not enjoy this one. Everything's basically the same between the two films and there's not a lot added here to differentiate. There's the same air-bag gag, the same weak jokes about Rogen's body compared to Efron's, and despite poking fun on the mysoginistic voice of the first film, there's the same type of penis jokes. Which means that what it's trying to do thematically, presenting a "feminist" comedy (despite being written by five white men), is already worse for wear. It's hard to take anything seriously when one huge sequence ends with Zac Efron dancing until he shows his privates to a huge crowd.  Even if it doesn't change much of the story elements, Neighbors 2 still does an admirable job in turning the comedy sequel on its head. Simultaneously ridiculing and reveling in the premise, each of the characters have been surprisingly developed. Capitalizing on the character's ages (and further expanding on the "Dad Rogen" type introduced in the first film), there's a slightly compelling emotional current underneath all of the penis jokes. As everyone tries to figure out their identity in the film (whether Mac and Kelly can admit to being bad parents or Zac Efron's Teddy realizing he needs to move forward in life after being stuck in his millenial childlike state), Neighbors 2 touches on a slightly more level headed take on uncertain futures. But sadly this is all in between bursts of juvenile story telling. It's a shame too because when Neighbors 2 does distance itself from standard bro comedy jokes, it's quite refreshing. Despite being a film where terrible people do terrible things to one another, the few moments where it acknowledges the shortcomings are pretty great. Once again, Zac Efron steals the show. Elaborating on the lovable loser story from the first film, Teddy's become even more pathetic as he's basically aged out of the genre. A lot of the jokes in this revolve around how the entire crew would rather be doing something else (down to Mac and Kelly's terrible absentee parenting) and this nihilism is charming in a roundabout way. If you look in a little deeper, it's almost as if the film is telling Zac Efron to go ahead and move on to even bigger roles. It's pretty much time anyway. In that same breath, he's the only one that gets this kind of attention. Every other character is practically window dressing to Teddy's evolution, and it only makes you wish for a film that focused on this theme alone. I want to reward these attempts at new types of humor and themes, but they never quite go anywhere. For example while the sorority in the film is sincere and founded on equal rights ideals, the girls themselves aren't characterized well enough to truly make an impact of any kind. It's impossible for a comedy to accomplish that within 90 minutes, so these ideals feel like an afterthought. It feels like the change from a fraternity to a sorority is more cosmetic and a feminist lead character was only added only to be a plot contrivance to start the whole prank war. In fact, one character in the film literally says the sorority is "untouchable" in order to speed up the extremeness of Mac and Kelly's actions. Neighbors 2 does deserve credit for adding these elements when it could've been just another bro comedy, but it's not enough to acknowledge issues or inherent problems with the bro comedy genre while still trying to utilize the cruder elements of it.  Neighbors 2: Sorority Rising isn't the best film, or the funniest, but it's at least visibly trying to do something different. It's a groundbreaking comedy sequel in that it's not just doing the exact same thing over again for quick money. I mean it is still doing a lot of the same stuff, and while the new ideas aren't explored enough to warrant any kind of real change, the fact there is a refreshing seeming film at the end of the day is pleasant.  The only problem overall is both films just aren't memorable. It's not like you'll be quoting its jokes years later or even remember what happened a week down the line. 
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Well, at least it tried
In my long tenure here at Flixist I've carved out a niche for myself. If you see a review for a Seth Rogen film or a sequel to a comedy, chances are it's my words you're reading. So little did I know I'd stick around here lon...

Review: Cash Only

May 20 // Alec Kubas-Meyer
[embed]220586:42954:0[/embed] Cash OnlyDirector: Malik BaderRelease Date: March 13, 2016 Rating: NR Elvis Martini is down on his luck. After he inadvertently murdered (manslaughtered?) his wife in an arson attempt to get some insurance money from his house, he finds himself the landlord of a janky apartment building renting to some terrible tenants who, for the most part, don't pay their rent or, ya know, care about anything at all. He lives with his daughter, who plays video games all day (at least two console generations behind, but more like three to five), because her father can't afford to keep her in school. He owes some people money, and in the process winds up on the wrong side of some dangerous people. His daughter gets kidnapped, and suddenly he needs to get $25,000 together by midnight in order to get her back. For this story to work, you have to find Elvis Martini a relatable character, one you can root for and feel for. You need to develop a bond that will override your general distaste for the bad things he does and the way he hurts people in order to deal with the aftermath of a very stupid thing that he did. If you don't make that connection, then you're just watching a bad guy do bad things. But not, like, interesting ones. Just bad ones. At one point, soon after his daughter is taken, Martini asks one of his tenants for help. The tenant, a weed grower living in the basement, says no, because Martini's a bad dude who did bad things and is getting what he deserves. It feels like cruelty on the grower's part, like the movie wanted me to think, "Wow! What a terrible human being!" And, sure, that's not a great look for the character, but he was right. Plus, the entire movie is about how terrible Martini is at paying back his debts. The grower has no obligation to give his landlord thousands of dollars (that he'd probably never see again) for any reason. As a person who doesn't want to see anyone's daughter get eaten by dogs, I wanted him to help, but I really can't blame the guy for saying no. And maybe I wouldn't have felt that way were it not for Cash Only's biggest problem: It is anchored around a performance that never quite clicks. Everything about Nickola Shreli's performance just feels the slightest bit off. The words are fine (and written by Shreli, which is interesting), but there's a disconnect between the words and the voice at times, and there's almost always a disconnect between the voice and the body. This is especially true near the end, where Shreli' lack of affect becomes downright bizarre as it's played against an admittedly over-the-top caricature of an Eastern European mob boss. This scene, which I'm fairly sure was supposed to inspire tension, merely elicits confusion, because everything is in place... but it doesn't quite work. Parts of it do, but the overall effect is just kind of flat. There's yelling and screaming and barking, but it's – to quote people smarter than me quoting Hamlet – full of sound and fury, signifying nothing. But it goes beyond the narrative into the production itself. It doesn't feel motivated. Take the camerawork: I like handheld camera movement. I use it a lot in my own projects, because I think it can be extremely effective at adding a sense of urgency to a moment or giving the whole moment an air of instability. And, given its sequence of events, it makes sense that Cash Only is a film that heavily utilizes handheld camera work. There are a lot of shaky shots, sharp pans, etc. But the problem is that there is a fine line between Effective and Exhausting, and Cash Only doesn't walk it so well. Sometimes the intensity of the movement felt unmotivated; other times, particularly during runs, it felt like the operator forgot they were supposed to be pointing the camera at something in the first place. It's just shake for the sake of shake. And that's what this movie is, really. Shake for the sake of it. Story for the sake of it. Action for the sake of it. Cash Only isn't bad or anything, and there are worse ways you could spend 88 minutes, but it's not particularly good either, and there are a whole lot of better ones too. Like rewatching Taken. Yeah, just do that instead.
Cash Only Review photo
For a Klondike Bar
What would you do to get your daughter back from an Eastern European mob man? Your first answer is probably, "Become Liam Neeson." And that's basically the correct answer, even if it's laughable for a whole host of reasons. B...

James Bond photo
Bond is dead. Long live Bond.
Daniel Craig is leaving the Bond franchise according to the Daily Mail, which is more of a gossip rag than anything else. The actor may have turned down a £68 million deal to star in the next two Bond films, w...

Star Trek photo
Star Trek

Check out the first teaser for CBS's new Star Trek


It's new, new, new!
May 19
// Matthew Razak
News of a new Star Trek got me very excited, especially when I heard it would take place in the original universe not Abrams. I enjoy Abrams verse, actually, but I think a TV show is better suited for the old verse. This...

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