REVIEW: Dolemite Is My Name [2019]

I want the world to know I exist. Much like The Room, Dolemite isn’t a good movie. Unlike The Room, however, Dolemite wants you to laugh. Maybe you laugh at what the actors are doing or maybe you laugh at the sheer audacity of Rudy Ray Moore scraping together a cast and crew who clearly had no idea what to do, but you’re laughing just the same. There’s a distinction to be made here because even those of us (myself included) who are having a good time at the film’s…

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REVIEW: El Camino: A Breaking Bad Movie [2019]

“Nothing beats cash on-hand” Obviously contains “Breaking Bad” spoilers. I’m neither alone in this thinking nor objectively correct, but “Better Call Saul” is superior to its predecessor “Breaking Bad”. I didn’t even really get into the latter until the season three finale and even then it was tough to stay invested in its cast of monsters doing monstrous things to each other ad nauseam. I say that because they used to be good people—or at least innocent of murder. The intrigue was therefore rooted in how deep they’d fall. Since…

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REVIEW: Long Shot [2019]

Olive oil and mayonnaise. I hate to use the word “refreshing” to describe a film lambasting the twenty-first century hellhole that is American politics, but it’s what comes to mind after watching Jonathan Levine‘s Long Shot. I’m not talking refreshing as far as its humor or rom-com machinations since both are blatant retreads. No, I mean the ability of Dan Sterling and Liz Hannah‘s script to let its satire of Fox News and Donald Trump populate the background with the nuance and intelligence gags like those on “Saturday Night Live”…

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REVIEW: Incredibles 2 [2018]

Help me make supers legal again! Fourteen years is a long time to wait for a sequel—especially from a studio that embraced the concept of creatively expanding properties with them early on in its tenure. Letting a decade-plus pass guarantees your initial audience has grown out of the target demographic and therefore presumes their interest in returning to such characters has waned or disappeared. This is why the decision to have Incredibles 2 completely ignore its lengthy hiatus is so intriguing an idea. We’re not returning to this world long…

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REVIEW: The Post [2017]

Quality drives profitability. Let’s be real: every Steven Spielberg film is a must-see, hype-driving machine. He’s a cinematic giant who rarely chooses a project to direct without extreme enthusiasm and artistic purpose (whether the result proves timeless or not). But no one could be blamed for letting excitement crescendo higher than usual upon hearing about his latest, The Post. Still in the midst of post-production on Ready Player One, Spielberg chose to drop everything while the visual effects artists did their thing to put Liz Hannah‘s script in front of…

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REVIEW: Hell and Back [2015]

“If you’re a priest or a nun, that’s funny. You wasted your life.” You may have noticed posters for the R-rated, stop-motion animated comedy Hell and Back throughout the summer and fall seasons in anticipation of its October release only to find it didn’t come to a theater near you. It was released and took in about $150,000 on the few screens it graced to the chagrin of a ton of hopeful Nick Swardson fans complaining on the movie’s Facebook page about their inability to watch. So January 5th brings…

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REVIEW: Nebraska [2013]

“Two goddamn days … from Billings?” I didn’t like About Schmidt. I remember very little about why or the film itself, but I do remember that. It should therefore be no surprise I didn’t necessarily love director Alexander Payne‘s latest Nebraska either since in my estimation they’re very similar works. He was actually approached with Bob Nelson‘s screenplay while filming the Jack Nicholson starrer, agreeing to helm it as long as he could put distance behind his next obligation—Sideways—so as not to make two road movies in a row. Nine…

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REVIEW: The Spectacular Now [2013]

“You’ll always be my favorite ex-boyfriend” Some of us are lucky—a lot luckier than most. The thing about luck, though, is that it may look nothing like it should. Sometimes luck means having your father leave. Sometimes it’s being an eighteen-year old alcoholic everyone at school loves for epitomizing fun despite ultimately acknowledging you’re a joke. We can’t all hit bottom to pull ourselves back up because the floor isn’t always forgiving enough to allow us to walk away. When it does—when the collision rocks you awake, scares you to…

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REVIEW: Take Me Home Tonight [2011]

“That was a metaphor. I totally got him.” As this week’s box office shows in contrast to my huge level of enjoyment with Take Me Home Tonight, it appears director Michael Dowse has another cult classic on his hands. Already with It’s All Gone Pete Tong and a duo of Fubar films containing a pretty vocal fan following—how else would what looks like a major low-budget flick in the latter get funding for sequel Balls to the Wall—I’d have to imagine the lackluster opening of his newest won’t get him…

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