Why can’t George Clooney make a movie that’s “simple”? I don’t mean “simple” as in unremarkable quality, but “simple” as in accessible entertainment.
It makes sense for David Wain to direct a biopic about Doug Kenney. The absurdist director of Wet Hot American Summer, Role Models, and Wanderlust works with a special brand of off-beat comedy as Kenney’s National Lampoon brainchild did. Even though the biopic genre is new ground for Wain, A Futile and Stupid Gesture is still a comedy cut from familiar cloth.
2017 was a strong year for horror and fantasy, but it was still a year that offered plenty of problematic films. Read what most of the critics at Wylie Writes considered the stinkers of 2017, and don’t forget to click highlighted titles for reviews.
With The Florida Project, Tangerine director Sean Baker flexes his ability to capture innocence and vulnerability within a seemingly tattered community. However, with his latest film, he improves his filmmaking in every way.
The Insult is over-the-top. It begins with unique charm, but that approach eventually consumes too much time and spills over – much like the pivotal argument that Ziad Doueiri’s movie is centred around.
Monolith is one of the dumbest movies I’ve ever seen and – god help me – I’m giving it a real recommendation the film should pride itself with.
Ava is a slow but decent coming-of-age drama about children trying to understand their parents and vice versa.
Most of the “no-namers” who started on FOX’s smash series Glee have since established their careers in film and television.
Strawberry Flavored Plastic combines elements of found-footage horror and mockumentary to create a story about two documentarians (Nicholas Urda, Andreas Montejo) making a movie about a serial killer, Noel Rose (Aidan Bristow). With testimonials, first-person video, and video conferencing, the audience learns how this “film” slips out from underneath its makers and how it goes awry.
Where You’re Meant to Be isn’t without good music, interesting history, and touching moments, but I still feel like director Paul Fegan misses the mark.