I recently interviewed Eve Harlow about her role in Noble Jones’ feature-length filmmaking debut The Tomorrow Man, a romantic drama starring John Lithgow and Blythe Danner. Harlow and I agreed that it’s pretty lame to assume movies starring older actors are for older audiences. However, for me, that argument starts to fold in on itself when filmmakers pander towards a specific demographic – The Tomorrow Man does just that.
The synopsis of Blackbear vaguely reminds one of the 2006 film Annapolis–a film that, if you recall (and if so, good for you), was marketed as a recruit training film in the vein of A Gentleman and an Officer, but was actually, secretly, a boxing film. Blackbear is similar: it starts off as a war film, with the two central characters as captives by ISIS, only to quickly become a boxing film within the film’s…
Wild Nights with Emily didn’t “click” with me but, then again, I feel like I’m “missing” something.
Gloria Bell is eventually invigorating. “Eventually” usually has a negative connotation, but not in the case of Sebastián Lelio’s movie. After all, the search for one’s identity isn’t going to be easy.
By: Trevor Chartrand Directed by long-time stunt-coordinator Jesse V. Johnson, Triple Threat is an action-packed martial arts thriller that’s bound to scratch the itch for B-movie enthusiasts. It certainly meets the quota for punches thrown, shots fired, and bombs detonated.
Pavarotti is a celebration of Luciano Pavarotti’s career and his achievements as a legendary opera singer and performer. Ron Howard’s documentary is jovial, just as Pavarotti was known to be. As someone who had limited knowledge of the timeless tenor, I walked away from Howard’s enlightening documentary with a new appreciation for music.
By: Trevor Chartrand Contrary to its title, Funny Story isn’t so much a funny story as it is a cringe-inducing series of awkward, and uncomfortable escalating situations.
By: Trevor Chartrand Framing John DeLorean is a unique documentary about the man behind one of most iconic car designs in automobile history. Much like John DeLorean himself, the film takes some big risks with an interesting and flashy approach. Many of DeLorean’s risks did not pay off, and the same can be said for some things in this film.
I don’t take umbrage with why Werner Herzog and André Singer made a documentary about former Soviet Union president Mikhail Gorbachev. Considering how elated both filmmakers are when they’re on screen with Gorbachev, the audience can see how much interest they have in this passion project. However, I feel that their starstruck smokescreen stunted this project from resembling a movie worth watching.
nîpawistamâsowin: We Will Stand Up exhibits how strong voices can persevere during tragic times. Not since Matt Shepard Is a Friend of Mine has a documentary been made with this much love for a life lost.