Sinister (review)
Worth a look for Ethan Hawke’s crankily intriguing performance as a writer who places himself in a creative pressure cooker of a situation, but not for much else.
Worth a look for Ethan Hawke’s crankily intriguing performance as a writer who places himself in a creative pressure cooker of a situation, but not for much else.
The Tim Burton-est movie in a long while, not merely because it embodies all those wonderfully weird and humanist Burton attitudes but also because only Burton would think to make a stop-motion film in glorious, creamy, black-and-white.
Dismal, yet profound and pungent, ParaNorman makes its points in ways more sharp and brutal than other “children’s” films. This is a story about ostracism and bigotry taken to extremes, and about our own unspoken prejudices and assumptions.
Honestly, I’m not entirely sure what David Cronenberg’s point is here…
Crosses the line into misogy-wah! territory, and conflates an attack by an alien monster with an attack by mean ol’ bitches on innocent men who didn’t do nothin’ to deserve it.

Timur Bekmambetov treats his pile-on of pulpy historical pseudo revisionism sincerely, but cheerfully so: its subversively gentle sense of humor is never so earnest that it stumbles over into cheese.
Would really really like for you to feel the grand, sweeping, larger-than-life mythos, and borrows willy-nilly from Peter Jackson and Guillermo Del Toro to try to do so.
Oh, I know, we’re not supposed to bother the beautiful minds of fanboys by pointing out the misogynist subtexts of their gorefests. It’s just a movie, boys will be boys, etc and so on. Well, tough shit…
Hoorah for Tim Burton and the new nadir of narcissistic awfulness he achieves here. Dark Shadows dares to be nothing but the wisp of its own conceit.
Zombies and social satire were made for each other — this has been true since the advent of the modern zombie flick in the 1970s. But zombies and political satire?