REVIEW: Yesterday [2019]

Have you got coke? Jack Malik (Himesh Patel) has dreams of singer/songwriter stardom, but this Clacton-on-Sea native is lucky if one person besides best friend/manager Ellie (Lily James) and their mates Nick (Harry Michell) and Carol (Sophia Di Martino) is actually listening to “Summer Song” let alone enjoying it at gigs. That’s the pitfall of dreams: they don’t always work out. While he would have quit years ago if not for Ellie constantly pushing him forward, his latest set-back doubling as a modest moral victory allows him to finally give…

Read More

REVIEW: T2 Trainspotting [2017]

“Friends is just another class of victim” Mark Renton (Ewan McGregor) “chose life” twenty years ago—or what he believed was the best chance at having one at the time. This on-again/off-again heroin junkie had just stolen the sixteen thousand pounds he and three friends (Jonny Lee Miller‘s Simon, Ewen Bremner‘s Spud, and Robert Carlyle‘s Begbie) made in a drug deal somehow gone right. His justification: one of the others would do the same he if didn’t first. Unfortunately for Mark, however, that money only got him a reprieve from the…

Read More

REVIEW: Trainspotting [1996]

“Choose rotting away at the end of it all” There’s an undeniable energy to Danny Boyle‘s Trainspotting, a rush of excitement set to a pulse-pounding rock soundtrack that almost seems the antithesis of what it’s like to fall down into a heroin-fueled dreamy stupor. Even as the characters from Irvine Welsh‘s infamous novel stick themselves with a needle and sink into the floor, Boyle keeps the pedal depressed beyond capacity with inventive visuals and breakneck speed narration. But as you get into the film and move forward with the sometimes…

Read More

INTERVIEW: Stephen Frears, director of The Program

It’s proving to be a couple of busy months for legendary director Stephen Frears, fresh off his delightful true-life story Philomena making an Oscar run in 2013. Not only does he have his Lance Armstrong biopic The Program opening US theaters this Friday (March 18th), but his newest Florence Foster Jenkins also hits UK screens May 6th. It appears the filmmaker has embraced telling the tales of real people whether of empathetic note or infamy. This hectic schedule made cementing an interview very difficult, regardless, we were still able to…

Read More

Top Ten Films of 2015: Where emotions run high

I have no problem saying 2015 was a great year for cinema. Putting together a Top Ten was difficult at every turn—both because each time I had to do so meant I had seen more films and as a result of my preferences constantly changing. There are more than a few from 11-20 that easily could be Top Ten candidates on a different day. Sadly for them that day isn’t today. Happily for us: the art’s level of quality was good enough to cause such problems. Rules: eligible feature-length films…

Read More

Picking Winners at the 88th Annual Academy Awards

For those handicapping at home, here are the guesses of Buffalo film fanatics Christopher Schobert, William Altreuter, and myself. Jared Mobarak: Here’s hoping Chris Rock does his best Ricky Gervais as far as not caring about political correctness or duty to kissing up to the celebrities all dressed-up nice because having him host the 2016 Oscars ceremony amidst the whole #OscarsSoWhite controversy is an opportunity not to be squandered. Two years in a row with no black actor/actress up for gold? That’s a major problem with The Academy and the…

Read More

REVIEW: Steve Jobs [2015]

“Computers aren’t paintings” Despite being an Apple guy from way back playing with LOGO the turtle in grade school before eventually swapping out MacBook Pros every five years or so from college on, I never really cared who Steve Jobs was beyond the kindly looking genius in a black turtleneck. To me the appeal was ease of use—I embraced the closed system Aaron Sorkin’s script readily attributes to Jobs—and the design. How can you not love the packaging, look, and logo during the Jobs 2.0 era? It’s impeccable. Whether or…

Read More

REVIEW: Trash [2014]

“Never trust a policeman” It’s not every day that a three-time Oscar nominee for directing decides on a foreign language film to be his next project, but that’s exactly what Stephen Daldry of Billy Elliot, The Hours, and The Reader fame has done. Following in the footsteps of fellow Brit Danny Boyle—whose journey to India for Slumdog Millionaire earned his sole nomination and subsequently an Oscar win—Daldry takes on the novel Trash written by Andy Mulligan about three impoverished boys working as garbage pickers who find something in their nameless…

Read More

REVIEW: Interstellar [2014]

“Who’s they?” Say what you will about Christopher Nolan, the man knows how to make resonate blockbusters. He knows movies—plain and simple. There has always been a power in cinema that hits us at an emotionally deep level, a window into our souls through the characters onscreen we have learned to cherish as though extensions of ourselves. Nolan appreciates this truth and has proven to possess an uncanny ability to tap into that universal consciousness despite using inherently obtuse stories rooted in scientific fantasy and actual theoretical physics the layperson…

Read More

REVIEW: Trance [2013]

“Strawberry” What began in 1994 as a script screenwriter Joe Ahearne wished to turn into his feature film debut, Trance was sent to Danny Boyle in hopes the Shallow Grave helmer would give him the thumbs-up to follow his cinematic footsteps. Boyle instead told Ahearne the piece would prove too difficult for a first-time director, causing the newcomer to gravitate towards television in the interim and create the critically acclaimed “Ultraviolet”. Upon its success, however, Ahearne went back to that original script and turned it into a TV movie he…

Read More

Posterized Propaganda April 2013: Sleight of Hand With ‘Trance’, ‘42,’ ‘Upstream Color’ & More

“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably. There aren’t many films coming out in April that scream “You have to see me on the big screen!” The ones that do, however, are high on my list of…

Read More