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 Incredibles [2004]

I have a weapon only I can defeat. When I saw The Incredibles in theaters upon release, the easy comparison was Fantastic Four—its own cinematic adaptation still a year away in 2005. You have the physical brute of Bob Parr’s Mr. Incredible (Craig T. Nelson) like Thing, the stretchy elasticity of Helen’s Elastigirl (Holly Hunter) like Mister Fantastic, an invisible teenage girl in Violet (Sarah Vowell) like Sue Storm, and a cocksure speedster in Dash (Spencer Fox) similar to if not exactly like Human Torch. What made Brad Bird‘s so…

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REVIEW: Book Club [2018]

Sex must not be taken off the table. Besides the numerous raunchy one-liners spoken by the central quartet of aging stars for easy laughs, there’s one short passage from Fifty Shades of Grey that’s actually read onscreen. It comes courtesy of Candice Bergen‘s Sharon and deals with the inexplicable decision to arouse Anastasia Steele with the “friction” of Christian Grey’s zipper. The line is a perfect barometer for whether you’re the target audience of E.L. James‘ trilogy or Bill Holderman and Erin Simms‘ romantic comedy utilizing it as a catalyst…

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Posterized Propaganda April 2012: Where Art and Commerce Meet

“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’s a good mix of work coming out in April and the posters do well to mirror such. I’m not quite sure how Chris Sparling could have his script for…

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REVIEW: The Company Men [2011]

“You know the worst part? The world didn’t stop.” Independent and television producer/writer John Wells makes his feature directorial debut with The Company Men, a film about three men coping with the recession, corporate downsizing, and how—for the upper crust of America—unemployment may just be harder work than having a job. The conceit is one that audiences can wrap their heads around, especially with so many having family, friends, co-workers, or perhaps themselves affected in much the same way. But despite this universal theme, the implementation can be a bit…

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REVIEW: The Proposal [2009]

“The witch is on her broom” It is safe to say, my man-crush on Ryan Reynolds has remained intact after watching his new film The Proposal. It could have gotten ugly being a vehicle for Sandra Bullock, (Reynolds is in fact the “romantic interest”), directed by Anne Fletcher, the woman behind the occasionally entertaining 27 Dresses. Would I have enjoyed myself as much as I did if Reynolds—a Canadian playing an American, opposite an American playing a Canadian—was not there? Probably not. That is what his sarcastic humor does for…

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