REVIEW: The Sisters Brothers [2018]

Are you going to watch? Many assumptions can be made during the opening scene of Jacques Audiard‘s The Sisters Brothers. It’s here where we meet the titular siblings (John C. Reilly‘s Eli and Joaquin Phoenix‘s Charlie Sisters) approaching a ranch with a clear warning of only wanting the man they’ve come to kill. A firefight ensues with gun blasts and light flashes in the distance until the camera pushes in on the two men storming the door to take care of those still struggling to breathe inside. They hear someone…

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REVIEW: Dheepan [2015]

“Be nice. That’s all.” It was a surprise when Palme d’Or winner Dheepan wasn’t chosen as France’s Oscar pick for the 2016 Academy Awards (interestingly enough the country selected Mustang, another film whose main language isn’t French). Even more surprising is how long it’s taken to open stateside as ten months sit between its debuts in Paris and New York. I guess it shouldn’t be too much of a shock considering many Americans will want nothing to do with a Tamil movie starring Sri Lankans, but that’s their loss considering…

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REVIEW: The Gambler [2014]

“I think you’re the kind of guy who likes to lose” I was very surprised to see James Toback‘s name as Executive Producer on The Gambler remake after reading a 2011 editorial explaining how he found out about the project secondhand after it was already announced that William Monahan was adapting his original script for Martin Scorsese. While this shouldn’t be too much of a surprise in a Hollywood where studios give EP credits to anyone they feel a need to appease and have no remorse retooling properties without caring…

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Top Ten Films of 2012: Ensembles upon ensembles

Many have been saying 2012 was a great year for movies. I’m not sure I fully agree. There were a ton of solid 7/10s and 8/10s, yes, but how does that compare with previous years when the amount of 10/10s were also drastically reduced? It took until September for me to give a film four stars and the two I did laud with such a distinction that month were the only ones. Rather than a showcase of masterpiece cinema, 2012 was instead a year of the performance. And I mean…

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Top 25 Films of 2012

(short and sweet and to the point; culled from watching ~140 releases. constantly updated as i catch up to those i missed. click poster for review if applicable) #25: End of Watch directed by David Ayer #24: Amour directed by Michael Haneke #23: Moonrise Kingdom directed by Wes Anderson #22: How to Survive a Plague directed by David France. #21: Prometheus directed by Ridley Scott. #20: Antiviral directed byBrandon Cronenberg #19: Skyfall directed by Sam Mendes. #18: Wreck-It Ralph directed by Rich Moore. #17: The Best ExoticMarigold Hotel directed by…

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REVIEW: De rouille et d’os [Rust and Bone] [2012]

“What’s up Robocop?” There’s nothing like a little tragic drama helping troubled souls find purpose in their lives to warm your heart. No, really, there isn’t. With the way the movies tell it, sometimes I get jealous I’ve never gone through a horrible near-death experience or witnessed someone close to me doing so because those things always seem to meander their way into allowing their victims to achieve that ever-elusive moment of clarity. Sure the path probably contains a few more rough patches—with the worst generally yet to come—but sometimes…

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Posterized Propaganda November 2012: Marketing Goes Artsy With ‘Killing Them Softly,’ Lincoln,’ ‘Skyfall’ & 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. I have to credit the Alamo Drafthouse and Mondotees for slowly turning the industry around to the appeal of limited edition prints and excessive series. You’re spending an insane amount…

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REVIEW: Un prophète [A Prophet] [2009]

“You’ve come a long way” It is weird, but after reading a quick blurb about director Jacques Audiard’s motivations for creating Un prophète [A Prophet], my view of the film went down ever so slightly. It’s not like I thought it was the greatest movie and now I abhor it, no, it is a very well made cinematic work, but I do have to question someone saying that it was made to create an icon for people who have none, meaning Arabs in France. So he is giving these people…

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