REVIEW: Always Be My Maybe [2019]

Kale can’t hold on forever. The premise is familiar. Two childhood best friends of the opposite sex lose touch after growing up only to find themselves in close proximity again almost two decades later. One became a huge success elsewhere while the other remained home and thus without much opportunity for escaping that neighborhood’s limited resources—the former falling prey to a materialistic superiority complex while the latter stayed “down to earth” on a depressive trajectory steeped in a fear of failure. Will celebrity chef Sasha Tran (Ali Wong) remember her…

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REVIEW: Deadpool 2 [2018]

We can’t really live until we die a little. The biggest critical gripe coming out of the first Deadpool film was that its attempt to subvert the superhero genre was squandered by being a superhero film. What does that mean? It literally is a superhero film. The character is an X-Men alum who exists to fight bad guys (and good guys alike). So the plot was always going to follow a familiar arc towards finding redemption and/or revenge against those foes/friends. Where it diverted from the formula was its embracement…

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REVIEW: Ghostbusters [2016]

“Ain’t no bitches gonna bust no ghosts” They lied. I walked out of Paul Feig‘s Ghostbusters reboot to find my childhood intact. Memories didn’t disappear as the run-time progressed with cooties-infested women replacing the nerdy, elitist dickheads in jumpsuits who ran amok in New York City years ago. In fact, these 21st century scientists actually know more science than blind comedic references about proton-packs being compact nuclear reactors strapped to their backs. Who knew women could be nerdy dickheads too? Who knew they weren’t simply vessels to breath heavy and…

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REVIEW: Safety Not Guaranteed [2012]

“My calibrations are flipping pinpoint, okay?” Sweetly cute, subtly intelligent, and simply life affirming in the best possible way, Safety Not Guaranteed is the epitome of indie darling. Reminiscent to Chronicle from earlier this year, director Colin Trevorrow and writer Derek Connolly have really taken care to use genre clichés in a way that somehow makes them appear fresh. We’ve seen the reporter lying for a story only to end up falling for her subject. We’ve seen the misunderstood weirdo toe the line between insanity and the impossible to give…

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