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.
Simon Killer gets under your skin, inch by inch, moment by moment, insidiously planting itself inside the psyche like a predator ready to pounce on its prey, the final moments a shocking turn of events that are as surprising as they are toxically unsettling.
I’m not going to spoil the twists Trance offers up for consideration. But if I did, if I wanted to, I doubt it would matter much, Boyle and company delivering a fervently exhausting techno-powered modern day thriller of memory and regret that makes up in energy and excitement what it lacks in nuance and overall surprise.
Carruth’s Upstream Color refuses to be diluted down into digestible platitudes. In some circles it could probably be construed as nonsensical prattle. In others, it will more than likely be considered a masterpiece.
Berger keeps the pace moving briskly, while his staging of the final act speaks with a heartbreaking surreal elegance that left me speechless, all of which makes Blancanieves a timeless one-of-a-kind spectacle the both brothers Grimm would have been proud to have called their own.
Gimme the Loot [is] a heartbreakingly sunny reminder that hope can be found where you least expect it and that friendships forged under adversity, whether perceived or actual, can oftentimes without our knowing become the longest lasting of them all.
A viewer can’t help but laugh, and right after the first snicker any chance there might have been to take things seriously disappears into the ether
Derek Cianfrance’s The Place Beyond the Pines, his follow up to his Oscar-nominated Blue Valentine, is big, sprawling and highly ambitious. It is his attempt at an American opus that’s equal parts Tennessee Williams and Sidney Lumet, a movie where the sins of the father are passed unto their sons, so on and so forth, making the picture a multigenerational epic filled with interesting characters, heartbreaking situations and broadly emotional ideas.