Errors of the Human Body doesn’t always work, pieces of it not always fitting comfortably with their cinematic counterparts. But the emotional core of this biological nightmare consistently rings true, making the DNA-fueled terrors that are being depicted all the more chilling on a personal level than they ever could have been otherwise.
Nichols once again subverts genre convention and slowly goes in directions you don’t always see coming. If his debut was a Hatfield and McCoy descent into familial darkness and his sophomore effort a psychological freak-out combining nature in upheaval and a devoted father slowly losing his marbles, then Mud (2013) is a coming-of-age drama of faith, understanding and friendship that defies convention resulting in an authentic urgency unique unto itself.
There’s nothing of merit to take away from Pain & Gain other than the fact that maybe in the hands of a different filmmaker something worthwhile could have been crafted, this pile of bombast as instantly forgettable, and in some ways lamentable, as anything I’m likely to see in all of 2013.
The Lords of Salem is a giant step in the right direction for Zombie, and for a director I’ve thought precious little positive about in the past the fact I’m now excited to see what he’s got in store for us next is no small achievement.
Helgeland delivers Robinson’s rookie season with the Dodgers like a two-seam cinematic fastball fired with authority, and while the director might hang the pitch a bit too far in the middle of the plate the fact he still manages to ring up a strike isn’t anything to scoff at.
It’s a Disaster is a satirical triumph, an almost instant cult sensation I can’t help but hope audiences discover and hold dear for many years to come.
While not as prescient as it thinks it is or as twisty as I imagine the filmmakers hoped it would be, the tale intelligently being spun is still fairly solid, making The Company You Keep an old school political thriller worth checking out.
I can’t say this Evil Dead will be as revered or as influential as its predecessor, but that doesn’t mean it isn’t without merit. Alvarez proves to be a horror filmmaker with passion, energy, style and vision, taking the Raimi/Campbell/Tapert concept into twisted new territory while at the same time paying just homage to the original trilogy at the exact same time.
Did Jurassic Park need a 3D upgrade? Heck no, the film confidently spoke for itself 20 years ago and its does so just as exuberantly now. Still, I will say that as post-conversions of older titles go, this is without a doubt the best one I have ever seen.