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| EFC STATS |
| Movies Listed: |
26919 |
| Total Ratings: |
244991 |
| Total Reviews: |
26321 |
![[127519669 Hits]](/cgi-bin/gd.cgi?127519669)
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| HERCULES (2014) |
"Chisel the legend."
Brett Gallman says... "If you need any further evidence that the gods can still be unkind, consider this: of the two Hercules films released into theaters this year, Brett Ratner was gifted with the meatier one where The Rock wears a lion on his head, while Renny Harlin toiled away with Kellan Lutz for a film that felt a half-step away from arriving direct-to-video." (more)
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| WISH I WAS HERE |
"Stop the planet of Zach Braff, I want to get off!"
Jaycie says... "Upon learning the title of Zach Braff's latest opus - Wish I Was Here, not You, not He, not She, not They, not We, but himself - viewers who had previously been subjected to Garden State and The Last Kiss most likely rolled their eyes and said "Here we go again." Yes, this movie does star the Braffster as a perpetually shell-shocked man-child who doesn't know he's a perpetually shell-shocked man-child. If not for that, though, Wish I Was Here could have been salvaged." (more)
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| PREDESTINATION |
"A time-travel movie with a tricky knot and a great heart at its center."
Jay Seaver says... "SCREENED AT THE 2014 FANTASIA INTERNATIONAL FILM FESTIVAL: If they have any ambition at all, both good and bad time-travel movies make the viewer's head hurt a little bit thinking about how the plot fits together; the good ones make the us like it. By that reckoning, I'm putting "Predestination" in the "good" category - good enough, in fact, that I'm loath to try to explain why I like it to anyone who hasn't seen it." (more)
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| FAULTS |
"Not quite faultless, but still fairly sharp."
Jay Seaver says... "SCREENED AT THE 2014 FANTASIA INTERNATIONAL FILM FESTIVAL: "Faults" feels like it should be something along the lines of "The Last Exorcism", not so much in plot (although there are some similarities there) as it's a chance for an often-overlooked character actor to shine playing the lead. When it's that, it shines; if the story were just a bit better, the movie would be something really special, though as it is, it's pretty good." (more)
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| LUCY |
"Turn off your brain as ScarJo turns hers on."
Brett Gallman says... "While “Lucy” is predicated upon that old false chestnut about humanity only having access to 10% of its brain capacity, it feels apt because I’m pretty Luc Besson still manages to only use about that much of his." (more)
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| KUMIKO, THE TREASURE HUNTER |
"'Fargo' seems to be inspiring filmmakers (and their characters) these days."
Jay Seaver says... "SCREENED AT THE 2014 FANTASIA INTERNATIONAL FILM FESTIVAL: As much as people lauded "Fargo" when it came out, it was a singular, stand-alone picture that did okay at the box office as opposed to a blockbuster, so two different spin-offs of sorts appearing nearly twenty years later has to be considered kind of peculiar. Even more so: Both this movie by the Zellner brothers and Noah Hawlsey's semi-sequel television series leave the original more or less alone and are excellent besides." (more)
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| AND SO IT GOES |
"Shit Sandwich"
Peter Sobczynski says... "What the hell happened to Rob Reiner? I have asked this question several times before and I fear that I will have opportunity to ask it again several times in the future but it is one that bears repeating. This is the guy who shifted from a successful acting career into directing and immediately launched one of the most incredible hot streaks of any filmmaker of our time. "This is Spinal Tap," "The Sure Thing," "Stand By Me," "The Princess Bride," "When Harry Met Sally," "Misery," "A Few Good Men"--these were smartly conceived and wonderfully executed films that were brimming with humor, drama, interesting characters and any number of memorable scenes. Any one of these films would be the feather in the cap of most normal filmographies and to see him just pump them out one after another was an astonishment to behold. Even when he stumbled, as he did with the notorious "North," it was with a film that, for all of its numerous sins, was certainly never boring--the sheer weirdness of the entire enterprise made it a curiosity." (more)
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| IN ORDER OF DISAPPEARANCE |
"Revenge as deadpan comedy."
Jay Seaver says... "SCREENED AT THE 2014 FANTASIA INTERNATIONAL FILM FESTIVAL: Where is the exact line between a movie being a darkly funny revenge story and a full-on, pitch-black dark comedy? In the case of "In Order of Disappearance", I think it is crossed early on in a gag that will recur throughout the movie, although it may seem to waver back and forth as the story unfolds. By the time it's over, though, this reunion of the team behind "A Somewhat Gentle Man" has produced something that is both darker and funnier than that impressive movie." (more)
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FILMS I NEGLECTED TO REVIEW: CONTRACTUAL OBLIGATION EDITION
by Peter Sobczynski |
| "Due to contractual obligations, I am unable to offer full-length reviews of most of this week's new releases. Instead, please enjoy short looks at "I, Origins," "Lucy," "Magic in the Moonlight," "Mood Indigo" and "A Most Wanted Man." Most are pretty good and one is a masterpiece--see if you can guess which one it is." (more) |
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SILLY WALK RIGHT IN AND SIT RIGHT DOWN...
by Greg Ursic |
| "On July 15th there was a parrot sighting at Potters Field Park in London; but this wasn’t just any avian, it was a 50 foot Norwegian blue. The ornithological oddity wasn’t the product of science run amok or a pending birdnado, rather it was an homage to the four decade long partnership of Monty Python, sketch comedy’s terrifically twisted troupe and heralded their return to the stage (and quite likely their last…)." (more) |
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CAPSULE REVIEWS: JERSEY BOYS, BAD WORDS & THE FAULT IN OUR STARS
by Daniel Kelly |
| "Jersey Boys (Clint Eastwood, Warner Bros., 2014)
Clint Eastwood’s musical gets off to a vivacious and energetic start, mixing warmth and wit with surprising aplomb, but goes off the deep-end somewhere around the halfway mark. The film’s characters weave in and out of the action satisfactorily, Eastwood using a potentially hackneyed but oddly effective “fourth wall” smashing address to keep audiences engaged. It’s as if he read Walter Benjamin’s “Art in the Age of Mechanical Reproduction”, moving to maintain some of the theatre’s “aura” through a means of faux-immediacy and soul, allowing his characters to bust the screen and intrude on a space they shouldn’t be aware of. Maybe I’m overthinking it, but the concept works, especially when combined with the enigmatic likes of Vincent Piazza’s roguish Tommy, the most memorable of the film’s assortment of young dreamers. The ease and grace of the opening doesn’t carry much further though, Eastwood’s stiff direction of the musical numbers and a selection of ham-fisted subplots slacking the pace and sobering the buzz. When the end credits roll, we get a sense of what might have been, Eastwood unleashing a fearsomely executed encore, replete with fantastic energy and pageantry. It’s a pity that the hour leading up to that point should dither so aimlessly, and fill itself so distractingly with diversions aborted before they conjure up sufficient nuance. A curiosity peppered with worthy highlights, but hardly a certifiable return to form for Clint.
Grade - C" (more) |
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'THAT'S THE BEAUTY OF MUSIC. THEY CAN'T TAKE THAT AWAY FROM YOU.'
- Andy, The Shawshank Redemption
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