Finally, a movie for all of us that watched Clueless and fantasized that they were a car-jacker who one day stole a car with Alicia Silverstone in the trunk, after a failed attempt to kidnap herself. But be careful what you wish for, all you people with that ridiculously detailed fantasy.
Mixing animation and live action has a spotted history in anything outside of children's movies (or maybe dance numbers), but Ari Folman has made one of the most daring toon/live-action films to date. Think Looney Tunes through the lens of Aeon Flux's obfuscated philosophy.
Once every generation there comes a warrior whose fate will decide the future of the world as we know it, and our warrior has arrived. God bless you, Chris Klein. Go forth into battle, you black stallion, you white knight...
A failed review of an atrocious Michael Jackson cash-in (can it still be considered a cash-in?), leads to an enticingly strange romance film that sits far better, at least when compared to Michael Jackson zombie revolution schlock.
Richard Linklater’s Boyhood has become so ubiquitously loved by critics and audiences alike that it seems almost impossible to find a negative opinion about it. But there was one. Quite a negative one. And here is an engagement with that negative look at Boyhood.
There is a certain art to making a bad movie, namely that your intentions must be to not make a bad movie. Today we discuss these finer intricacies and some of our favorite of the "bad" films we've seen.
Terry Gilliam returns with his first film since 2009's The Imaginarium of Dr. Parsnasus and his first sci-fi film since 1995's 12 Monkeys. Here's to hoping that Gilliam still has his same wonderfully skewed imagination running in high gear.
Michel Gondry creates an unnervingly quirky world and uses it to tell a classic love story, complete with a little mouse man and dancing food. Can he hold the strings together, or does the surrealist world he creates threaten to swallow the narrative whole? Stay tuned.