REVIEW: The Gentlemen [2020]

Doubt cause chaos and one’s own demise. It begins with a murder: out-of-frame, bloody, and a punctuation mark on Mickey Pearson’s (Matthew McConaughey) monologue about kingdoms and having to be the king when history ceases to be enough. By that he means the criminal underworld and intentionally getting his hands dirty to ensure the level of respect and fear necessary to stay alive in a volatile cross-section of gangster life. Mickey worked hard to get where he is as the boss of a seemingly impossible marijuana enterprise and he’s unafraid…

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REVIEW: Aladdin [2019]

Get your own jam. The Disney animated film that demands most skepticism when considering a live-action remake is Aladdin. No character besides the late Robin Williams‘ Genie has transcended its source to become larger than the Mickey brand itself and no actor could ever dream of filling his shoes with an impression guaranteeing unflattering comparisons. So give the studio credit for understanding “big” can only be combated by an equal or greater level of “bigness” such as the casting of Will Smith provides. He truly was the perfect choice from…

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REVIEW: King Arthur: Legend of the Sword [2017]

“We all look away” The magic has once again been returned to the lore of Excalibur in a way that brings it closer to World of Warcraft mysticism than Sword in the Stone trickery—for better or worse depending on your interests. I for one actually liked Antoine Fuqua‘s King Arthur from 2004, its decision to do away with the spells not wholly destructive to the very fabric of the myth like removing the Gods was to the debacle that is Troy (rather than an expertly placed hit, its ankle shot…

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REVIEW: The Man from U.N.C.L.E. [2015]

“Inside every Kraut is an American trying to get out” Writer/director Guy Ritchie is like that band all my friends dismiss because they think every song in their discography sounds the same to which I reply, “But I like that song.” With the exception of Swept Away—because I’ve never seen any reason to actually watch it—I’ve enjoyed all of the high-octane, visually kinetic action comedies he’s brought forth into this world. Whether an original Cockney tale like his earlier work or a Hollywood property adapted to his sensibilities of late,…

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REVIEW: Snatch [2000]

“What do I know about diamonds?” Hot on the heels of his debut Lock, Stock and Two Smoking Barrels, Guy Ritchie‘s sophomore effort Snatch proved to be the one to cement his name into American audiences’ consciousness. A second collaboration with soon-to-be action superstar Jason Statham, the heist flick is a hilarious romp of brutally violent men propelling itself forward through quick cuts and narrative coincidence/overlapping as illegal boxing matches meet faux Jewish jewelers on the hunt for a giant diamond of which everyone wants a piece. Yes, Statham’s fight…

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REVIEW: Welcome to the Punch [2013]

“Does she now? You look like Kenny Rogers.” Bolstered by a script ranking number three on the 2010 Brit List—a film industry tabulation of the best unproduced British screenplays—Eran Creevy‘s Welcome to the Punch goes a long way to putting the writer/director on our cinematic map. The guy has worked behind the scenes on projects with Danny Boyle, Woody Allen, Neil Jordan, and Matthew Vaughn, the latter appearing to be who’s style he most closely resembles. Shooting a ton of music videos and commercials alongside his debut feature Shifty, Creevy…

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Posterized Propaganda October 2012: Summer Excess and Festival Freshness

“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. Summer is over and the studios still have a few genre flicks to unload before the arthouse, festival favorites begin rolling out. Oh, and Halloween is here too. The sad…

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REVIEW: Sherlock Holmes: A Game of Shadows [2011]

“Careful what you fish for” I am and probably always will be a Guy Ritchie apologist. I blamed Madonna for Swept Away and even bought a Region 2 DVD of Revolver in case it never made its way across the Atlantic. So when the director signed on to do a blockbuster studio version of Sherlock Holmes, I wasn’t sure what to think. On one hand it’s success would mean the hoped for sequel to RocknRolla had a better chance of seeing the light of day, but on the other it…

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Posterized Propaganda November 2011: Too Many Characters!

“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. Hark! The holidays are upon us! While that signifies the beginning of what should be the glorious awards season flood of quality work only the lucky few of us attending…

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REVIEW: The Hire [2001-2002]

“BMW recommends that you always wear your seatbelt” After watching the Parallel Lines series, my desire to revisit BMW’s The Hire was too much to contain. This thing was a cultural phenomenon, doing what no one had ever done, with a medium still untested at the time. Back in 2001, households across America were still learning about the internet; installing their dial-up connections to surf for mostly news articles and sites without too many images for quick access. Looking to tap into a market that could target its demographic of…

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REVIEW: Sherlock Holmes [2009]

“All it’s missing is a ginger midget” We all knew that Sherlock Holmes would be a Guy Ritchie film, the trailers made sure about that. The question remained, however, whether the detective tale would have anything to do with Sir Arthur Conan Doyle’s creation besides the title. Well, it begins by showing the hybrid of both styles the final film ends up being, with Robert Downey Jr.’s Holmes deducing in his mind how he will dispatch a watchdog goon standing guard. The slomotion stylings in his head soon become a…

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