I love nostalgia. I love to celebrate nostalgia, and I love re-living the nineties when I’m bored or blue. But I certainly do have my limits when it comes to nostalgia and selling me nostalgia. There’s a big difference between celebrating the nineties and buying any crap that’s kind of from the nineties. I thought slap bracelets were cool, but I’m not going to spend ten dollars for one on Ebay. And yes, at one time I watched and enjoyed “Friends,” but it’s by no means the one of the best TV series of all time. Surely, it lasted ten seasons, but does that mean it should be celebrated? Am I the only one who remembers those last three awful seasons of the series where the writers were just making shit up and bringing on any guest stars? Does no one else remember “Joey”?
I’ll just come out and say it. I’m one of the five people in the world that really enjoys “Congo.” I don’t care how smug it makes me sound, but I’m genuinely shocked that it’s so reviled by many movie fans since I never thought it was terrible. I won’t lie, for years I’ve always thought of “Congo” as nothing more than a B grade adventure film about maniacal monkeys and diamonds, but I’m shocked it’s so trashed by a majority of movie buffs and critics alike. I think there are much worse movies out there. Sure, there’s a monkey drinking a martini, but come on, is “Congo” really awful? I don’t think so.
We really got a kick out of V/H/S while V/H/S 2 completely stepped up the game on the found footage anthology horror film. “V/H/S Viral” looks like it’s trying something completely different while sticking to the spirit of the first two horror films. Judging by the Red Band trailer, there’s going to be some disturbing twists and surprises for horror fans.
Dig this trailer and let us know what you think!
Reviews, lists, articles, and nostalgia pieces, all in the spirits of Halloween!
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What’s most striking about director Jean-Marc Vallée’s “Dallas buyer’s Club” is the way AIDS is depicted. From the moment Ron Woodroff is told he has terminal AIDS and thirty days left to wrap up his affairs, his life is literally running down on a timer, and he’s literally scrambling back and forth for a way to preserve it. And what begins as a means of self-preservation transforms in to a very eye opening exploration of the world and how AIDS is a very unbiased disease that isn’t restricted to the homosexual community that it’s been used to demonize for many years.
The directing team of Alexis Decelle, Cyril Declercq, Vincent Defour, and Pierre Jury at Isart Digital really turn the whole lonely robot formula on its head. The five minute silent short entitled “L3.0” is filled with heavy implication and immense back story, based solely on what we see, and not what we’re told. L3.0 is a lonely robot that spends most of its days looking for other beings, and sending out paper airplanes in to Paris. When he finds a butterfly, he might have found a new friend.
“Blended” is part old school Adam Sandler and new school Adam Sandler. It has the same dumb, pointless, physical humor, with the modern “family is everything, you’re nothing if you’re single” sentimentality that’s permeated like self righteous stink through his later comedies. To make the affair even more grating he teams up with Drew “nails on a chalkboard” Barrymore for a third time. The cynical side of me thinks that they teamed up again to complete a trilogy of pairings for a potential special edition release of their comedies. But the obvious seems to be Sandler re-visiting the well hoping for another hit. It’s just sad that never translates in to memorable entertainment. “Blended’ is a family oriented dramedy that’s never original, nor does it pose any sense of Sandler thinking outside the box in his early films.
While I did enjoy “The Dead,” I also admit that it spooked me a bit, if only for the Ford Brothers’ ability to depict the walking dead as a truly horrifying, a talent that’s tough to accomplish with our current glut of zombie films dominating pop culture. “The Dead 2” isn’t a far departure, sticking to what made the first film such a success, while switching elements around to regard it as another chapter in the epic continent trotting tale of the zombie apocalypse. There still hasn’t been much of an explanation of the particulars of the zombie virus and where it originated, but that’s irrelevant once the dead are knocking down doors.
Warner Bros. Pictures were wise to hire Gareth Edwards to film what is essentially a reboot of the Godzilla series for American audiences. Director Edwards displays a knack for depicting giant monsters as forces of nature that affect civilization, and he carries a lot of the sensibilities from “Monsters,” over in to the reworking of “Godzilla.” His version of “Godzilla” is less monsters stomping around and fist fighting, and more of a disaster film with a slew of human beings affected by the chaos that two monsters inflict when they rise from their gestation to feed on radiation around the world and wreak pure chaos. “Godzilla” is a sterner and dramatic approach to the lore, offering a very interesting dynamic between characters, all of whom carry through the themes of family and unity among the human race. Particularly fatherhood.
After a zombie apocalypse has overtaken most of the country including New England, former baseball players Ben and Mickey have found themselves stuck together. They’re too frightened to be alone, and yet don’t like one another enough to stay together. Thus they form an uneasy pact with one another, roaming the more desolate landscape of New England looking for food, shelter, and new means to keep themselves from going absolutely stir crazy. With the rising population of the dead, and the lack of human contact, it’s becoming a task that’s increasingly difficult to conquer day by day.