The New Girlfriend might not showcase [François Ozon] at his best, but it does feature him continuing to try and tell stories many of his contemporaries would shy away from, this film finally ending up as a courageous saga of friendship, acceptance and identity I was happily captivated by.
Kansas City Confidential is a seriously great motion picture totally deserving of its status as a noir classic, standing the test of time in ways few similar efforts have.
Gilda is a classic, no ifs, ands or buts about it…[No] matter how one chooses to look at it director Charles Vidor’s 1946 effort is essential viewing. More than that, though, it’s just a damn entertaining movie, Rita Hayworth and Glenn Ford sensational, while the film itself is a fun, bewilderingly sexy, heartlessly dark frolic into obsession and lust so far ahead of its time 70 years later it still feels risqué and groundbreaking.
Flesh and Bone is outstanding. For STARZ, it might just be the best limited series the cable channel has produced yet, creator and showrunner Moira Walley-Beckett crafting a mesmerizing descent into the world of ballet that’s as dark and bleak – yet also as energizing and beautiful – as anything television has seen in quite some time.
Rosencrantz & Guildenstern Are Dead is a cult gem I’m absolutely ecstatic has managed to find its way to Blu-ray. Tom Stoppard’s 1990 idiosyncratic favorite features glorious performances, witty lines and an ingenious premise that makes me grin ear-to-ear just thinking about it.
As beautiful disasters go, Pan is kind of divine. It’s fascinating to watch, filled with sights and sounds utterly unique in and of themselves. None of which makes it a good movie, per se, but it is a fascinating, at times an intently hypnotic one, and as failures go, I’ll take more like this Joe Wright mess every single day of the week.
I’m not going to make the case that Scouts Guide to the Zombie Apocalypse was some unsung, underappreciated horror-comedy classic that was wrongly dismissed by critics and audiences during its initial release back in November of last year, it isn’t and it wasn’t. But the movie does make me laugh, and I can’t help but like the cast and find myself amused by a number of their antics. Also, the gore effects are relatively inspired, and that in and of itself make this one a-okay in my book. So there.
Deathgasm is a hoot, holding up beautifully on repeat viewing filled with a number of creative delights not necessarily noticed on first viewing. Howden shows a lot of promise with this debut, and while I’m not automatically excited about him tackling a reported sequel next and not something different, considering the talent he shows here I’m more than willing to keep an open mind.
Ghost Story is not the novel that inspired it. Large swaths of Peter Straub’s source material are almost unavoidably absent. But looking at it now, almost 35 years after its original release, the movie holds up rather nicely, anchored by a quartet of performance by some talented pros and some unsettling scare sequences ingeniously staged by the director John Irvin that more than impress.