Finally tapping into the coveted “Action Movie-Goers Ages 55-64” demographic is _RED,_ the first movie to fully recognize that the bad-ass old guy is the most bad-ass bad-ass possible. For that matter, I think I am not exaggerating when I say that, by and large, the older the practitioner, the more raw the feat. I dare you to name one thing that’s not raw as hell when done by a dude or lady of years. Doing push-ups. Chopping firewood. Yelling at Koreans. Speaking to a nation. Chugging a beer.
Steve McQueen’s 12 Years a Slave is tense and unflinching. Its relentless intensity and graphic brutality has been the defining feature in the media, but it is also an essential part of the film and the primary reason it could become the most important portrait of American slavery yet on camera.
__REPO MEN__
Repo Men is about a guy who does a thing with a partner in a dystopian future who fucks up that thing and then has to fight against his partner and, indeed, the whole of society, for the sake of truth. You might remember this movie as _District 9_, _Equilibrium_, the video game _Haze_, _Avatar_, _Minority Report_, _Fahrenheit 451_, _Logan’s Run_ and _The Giver_.
The first time I saw Zero Dark Thirty left me shaken to my core, affected to an extent I rarely experience at the cinema. I was deeply moved by what I saw as a powerful meditation on obsession and revenge … Read More
Both of them are B and T-ers who regularly retreat to New York to escape the banality of their suburban existences, and, of course, both of them are music junkies with the same rad taste in sweet tunes.
I had already seen the movie in theaters three times. Enjoyment is one word, obsession is another. The first three times, this film had sent me into hysterics, including, but not limited to impassioned weeping, strings of incoherent syllables, and frenzied gesticulation at the screen. In each of my three previous viewings, the usual suspects (“I Dreamed a Dream,” Fantine’s passing, “When Tomorrow Comes”) were to blame, but during this latest screening at the Garden Theater, the floodgates held fast against their onslaught
“My first draft of this review started with a disclaimer saying that, whatever my opinions of Crazy Rich Asians may be, its all-Asian cast is worth celebrating as a landmark for representation. Then my editor sent me an article explaining how the movie’s depiction of Singapore is analogous to a depiction of America only featuring white people, and now I don’t know what to think. In the context of Hollywood’s shameful history of white actors playing Asian characters, this still feels like a step in the right direction, though it’s hard to forgive the ignorance of Singaporean racial diversity. This stuff is complicated and there are two sides to every issue. Anyway, Crazy Rich Asians is awful.”
