Dark Shadows is another Tim Burton movie in which you desperately wish something interesting would occur. Which wouldn’t be too arduous of a task if the film would decide if it wanted be a satire, comedy, drama, or parody.
Post Tagged with: "drama"
Have you ever wondered about an alternate reality? About how things would have turned out if you had done something different along the way. Would you suffer the same fate, the same misfortune? In the haunting Sundance hit Another Earth, these questions are pondered, in wondering but also terrifying ways.
The Art of Getting By was written and directed by Gavin Wiesen — his first major film. Although the script was sometimes lacking in substance, I felt overall he did a good job of molding a story essentially about a teenager’s last year of high school, into quite a moving film.
Footloose is a delightful and endearing fantasy, one that is bound to be welcomed by viewers attempting to escape the horrors of reality. What the film severely lacks in realism is ultimately made up for in spades with happiness and unparalleled optimism.
50/50 is an emotional, genuine and honest portrait of a man battling the specter of his own death. It’s a roller coaster ride full of compassion, disappointment and love. Read Sam’s review of this movie, starring Joseph Gordon-Levitt and Seth Rogen.
Moneyball taps into the the real life conundrum of the Oakland A’s circa 2001, an underfunded baseball team plagued by their inability to win a single playoff series. Enters general manager Billy Beane (Brad Pitt) who revolutionizes the game by using computer-generated analysis.
Gus Van Sant is a director who can skilfully create films that appeal to both mainstream and independent cinema lovers. His talents are never in question as he has shown on numerous occasions that he is one the most interesting directors working today. However, this does not mean that he is immune from minor missteps here and there.
The apprehensions that come with watching Steven Soderbergh’s Contagion are understandable. But worry not, the director handles numerous minefields well enough, weaving an impressive number of story lines and characters into a first-rate horror thriller.
Melancholia is in many ways a departure for Lars von Trier. The emotional sledgehammer of his previous work is replaced here by a more lyrical, existential sadness, paying more debt to Bergman’s The Seventh Seal than to the self-chastising naturalism of Dogme 95. It’s telling that instead of ending on an act of violence, it concludes on a small moment of tenderness.