friendship
Killer Friends is a short horror-comedy written by Zach Noe Towers and co-directed by Towers and Tina Carbone. The film stars Jenna-Lee Carreiro, Dave Racki, and Peggy Sinnott alongside Towers, who plays the indestructible jerk himself, Scott. With Friends Like This, Who Needs Enemies?
Stand By Me is one of my favorite movies, I could watch it a hundred times without getting bored. I have watched it in different phases of my life, through various perspectives. Every time I watch it, I learn a new detail that I had not noticed the before.
Among the final moments of The End of the Tour, author David Foster Wallace (Jason Segel) pulls his interviewer David Lipsky aside and says: “I don’t think you wanna be me.” Lipsky (Jesse Eisenberg) objects with the same how-could-you look I’ve returned incriminating but sensible remarks.
Ted 2 is exactly what you think it is. Seth MacFarlane is an entertainer who infuses all of his work with the same pop-culture heavy and juvenile abundant humour, from his roots in Family Guy to this, his third cinematic effort. The first Ted was a cinematic surprise, over-performing at the box office to become (at the time) the highest grossing R-Rated comedy of all time.
Paper Towns is an adaptation of John Green’s book of the same name. You may already have read or watched his highly successful The Fault In Our Stars, and have come back for more. Why wouldn’t you, he’s John Green?
Although not without empathy, it is hard to argue against the statement that teenagers are some of the most self-centred people alive. I know this from being a particularly self-centred teenager, who at thirteen regularly made statements of self-loathing in order to gouge sympathy and attention from my peers. It was an attention seeking phase that I mercifully grew out of very quickly, but I can at least be forgiven for it for being young and stupid.
Director Noah Baumbach has become synonymous with “hipster cinema”- which in his case, means character studies of self-obsessed, over-privileged big city dwellers, who he tends to love, even if audience members are more likely to find their company unwelcoming. Yet he is a far more complicated director than that; weirdly, in his most recent movies, he’s been rationing out the abrasive commentary of the hipster community (the raging members of Generation X and the fresh-faced millennials) with something approaching empathetic humanism. His previous film, While We’re Young, was the most empathetic portrayal of hipster culture we are ever likely to see in modern cinema – something even the sharp left turn into trademark Baumbach cynicism in the film’s third act couldn’t overwrite.
A great director can elevate a movie that is nothing short of trash cinema into something masterful. Throughout his career, Orson Welles repeatedly chose projects (most notably Touch of Evil) as a challenge to see whether he could make a good movie out of source material that was far closer to the gutter than the stars. A cursory glance at some of the best directors of all time, from Welles and Alfred Hitchc*ck to David Fincher and Steven Soderbergh more recently, reads like a list of directors who enjoy cinema at its silliest, yet are such technically skilled filmmakers with a clear love for genre filmmaking that their movies are only ever laughable in a knowing way.
For as long as there have been films, there have been coming of age movies and there have been high school movies. These types of film, these genres, have become so overdone, that it becomes hard for a single film to really stand out. Dope does.
For most people Pitch Perfect wasn’t something they saw in the cinema. They watched in on DVD on a whim or chanced it after hearing about it from a friend. Released just as Anna Kendrick and Rebel Wilson’s careers were on the rise (and was possibly one of the films that gave them a leg up) it initially went under the radar, but as the years have passed the film has garnered great reviews and the Barden Bellas now have a huge fanbase.
An animated film that is targeted towards young children should be colorful, with lots of movement and hopefully an outlandish character or two. Most importantly, though, it must have heart. It should tackle themes that are important to kids, and provide lessons that they can take away from the cinema and begin to apply to real life, not just in the way that they behave but also in the way that they understand the world around them.
Big Hero 6 takes the cultural stereotypes of the East and West, smashes them together to a fine powder, and fabricates from it a 100-minute ride that is so eye-poppingly pretty, so gently moving and so explosively inventive that it’s the most unabashed, jolting fun you’ll have at the movies this year. Even after turning out two very strong features like Wreck-it Ralph and Frozen, Disney proves once again that its capability to push boundaries of imagination is strengthening by each passing endeavor. Disney at its absolute peak Based on a Marvel comic, directors Don Hall and Chris Williams gather the immense arsenal of talent at Disney to conjure up on screen the beautiful cherry-bomb of a city called San Fransokyo – a hybrid mash-up of the architectural sensibilities and culture of San Francisco and Tokyo.
The best film of the summer is here, and it is the Guardians of the Galaxy. After months of promos and trailers, the time has come to see Marvel’s newest addition to its universe of superhero films. According to The Wrap, it got started with a nice boost from Thursday night showings with $11.
Wow. I didn’t go into How To Train Your Dragon 2 expecting my world to be rocked, but… it sort of did.