The relationship between older women and younger men is one not often explored outside of scandal and romantic comedy. Ulrich Seidl, in a film that is both depressing and strangely amusing, gives a whole new look at these older women who long for the paradise that is a young man’s love.
Where many will complain about Fitzgerald’s novel being misplaced in Baz Luhrmann’s hands, The Great Gatsby has some undeniable charm that actually makes it a rather enjoyable watch for all its faults.
However much I hate to suggest the idea of style over substance, it’s one that often pops up in films. Kiss of the Damned is just one of many films deserving of said label, but it’s not necessarily all that bad.
This review may be just as cryptic as Upstream Color itself, but it’s truly a beast of another nature. If anything, Shane Carruth’s sophomore feature only solidifies what we knew from his debut: that he is a truly gifted filmmaker.
It is the lack of any real story and a desperate attempt at creating a surreal nightmare that makes The Lords of Salem a flop. There’s no real heart in this one like there was in something like The Devil’s Rejects, and as everyone knows, a few good scenes don’t make a good movie.
Sometimes it’s hard to tell when a film is going to be a steaming pile of shit. Other times, it’s painfully obvious. When you have real life couple Anna Faris and Chris Pratt, two very entertaining people, starring in a short within an anthology flick in which they quite literally talk about shitting (or should I say pooping, the film’s choice of romantic terminology) on each other, it’s one of those painfully obvious experiences. This is only one piece of the shameful Movie 43.
The idea that our memories aren’t truly our own or that we only remember fragments of the lives that pass us by is a scary one. No one likes to be confronted with a concept liked this, and yet there are many who have it far worse.
It is thanks to the cast and their good performances that The English Teacher rises above mediocrity to an experience that’s enjoyable enough.
There’s a certain beauty to well-made horror movies that many people don’t tend to understand. You can have all the blood, gore, and jump scares in the world and not achieve a single thing. In his remake of the 1980 cult classic Maniac, Franck Khalfoun lets loose and shows the world just how interesting a remake can really be.
Someone once told me, without pain there is no gain. It was a terrible joke made to me after watching Michael Bay’s Pain & Gain and yet, there was some resonance there. Never would I have experienced a film as baffling, but surprisingly entertaining, as this one, without a truckload of terrible latched onto the fun.
