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First of all, any movie that kills off the smashing Christina Hendricks in the opening 20 minutes deserves to be shot down on the basis of that alone. But that’s only the tiniest of the many cinematic crimes of Life as We Know It, which pretends to be something hip and fresh and is in fact relentlessly conventional, even retrograde.
The ambitions that Mark Zuckerberg had for Facebook — at least what we see of them in The Social Network — seem so small and sad and deeply ungrand next to the reality of how life on Facebook plays out a mere few years later in the profoundly poignant Catfish.
I’ve come to realize recently that there’s something more chilling, more eerie than a fictional dystopian world: a fictional dystopian world in which no one understands they’re living in a dystopia.
How sad is it when a horror movie appears to be aiming for overwrought and still ends up underbaked? This overly familiar, wholly unoriginal would-be psychological thriller provokes few reactions outside of boredom and — in, sadly, too few moments — derisive laughter.
The secret is out: Hollywood knows how to make movies about authentic female human beings. It just chooses not to do so 97 percent of the time.
Paul W.S. Anderson loves him some style without style, texture without substance: this is all white noise, visual static to make the movie pop more in 3D.
Everything that is wrong with The Movies today in America is beautifully encapsulated in how this lovely little movie cannot find an audience in the current movie environment.
I can’t wait for the right-wing windbags to begin decrying Rodriguez and Machete — oh noes! he’s trying to ignite a class war!
Sam’s little-boy idealism about what it means to be a cop gets a 1973 wakeup call…
It’s absolutely worth seeing… if only for the intriguing debate to be had afterward, if it wouldn’t be an even stronger film were the last five minutes or so to be chopped off.
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