I can’t say it is perfect, and not all of the questions it raises are answered, but the same can unquestionably be said about the man it chronicles, Grizzly Man the type of human adventure that makes going into the cinematic wilderness fascinatingly worthwhile.
House of Wax is cruelly juvenile in ways that worked for me, and as far as Dark Castle’s current run of bloody horror remakes are concerned, this might just be their best one yet.
Always an astonishing visual craftsman, House of Flying Daggers is as impressive as anything Yimou’s ever done. The shifting colors and landscapes flow in and out of one another like a dreamy netherworld, while the tiniest woodland sounds sparkle and hum with the majesty of a symphonic orchestra.
Bad Education is a brazen, ambisexual noir that embraces the conventions of the genre while at the same time shattering them with explicit wickedness.
The Incredibles is just that, well, incredible, and here’s hoping people go and see just that for themselves at their first opportunity to do so.
The Grudge works, and I’ve got the sweaty palms to prove it.
But with Mean Girls Waters and Fey do what they can to show scrubbing off one’s humanity for a mechanical glassy-eyed façade is something that should be avoided. In the end, life in plastic just isn’t worth the effort.
It’s a beautiful screenplay overflowing with moments of such sudden, tight-fisted insanity that frequently knocked my socks off, all of its coupled with a poignant purity that’s beyond terrific. As early-year movies go, Eternal Sunshine of the Spotless Mind isn’t just a surprise, it’s a bona fide cinematic miracle I’m not ever going to forget.
Elf isn’t Christmas cheer, it’s Christmas excrement, and here’s hoping it finds its way to the sewers as fast as possible.