The King of Staten Island is another win for director Judd Apatow, who last left movie goers with his career-best work in Trainwreck. It appears, though, that the filmmaker was preparing for The King of Staten Island with Trainwreck. Just as he gave comedienne Amy Schumer a platform to expand on her own stand-up about her self-consciousness with the opposite sex, he gives SNL comic Pete Davidson this movie to explore his upbringing in this,…
The Argument, a comedy of manners from director Robert Schwartzman (The Unicorn) and screenwriter Zac Stanford (The Chumscrubber), proves that sometimes a movie has to sink low in order to come out on top.
The first hurdle of any music-centric film is often the most difficult to clear: the music itself. It’s difficult to get the audience to root for the heroes if their band’s sound is cringe-inducing. Or, even worse, if it’s just plain boring.
Never Be Done: The Richard Glen Lett Story is a fantastic example of true documentary filmmaking.
The much awaited and presumably final instalment in the Bill & Ted series, Bill & Ted Face the Music, pulls off the impossible feat of being a faithful and charming sequel to cult classics. For that, the production should be very proud of their efforts and patience. However, the movie itself is neither “excellent” or “bogus”. It’s just, sort of, “chill”.
The title of Steve-O’s new comedy special Gnarly, as expected, describes the stunt work peppered throughout the show as he raises the bar on his own shock factor with squeamish spectacles. However, the special should almost be titled Mea Culpa considering his stand-up routine, while off-the-wall, is holding his past destructive behaviour in contempt.
For a film titled Enter the Fat Dragon, the film doesn’t stew in heavyweight humour or reminisce on kung-fu nostalgia. When it does, it’s brief and appropriately justified for the story. A breath of fresh air when compared to other comedies that cash in on references and obvious prosthetics.
By: Jessica Goddard It’s an intriguing premise: a crude ex-convict will stop at nothing to build a motivational speaking empire. Tijuana Jackson is unrefined, unreliable, and painfully pompous; but for better or for worse, he is motivated.
One of the best things to happen to 21st century genre cinema is the transgression that comes with newer understandings of social norms. After about one hundred years of cinema, the tropes of classic Hollywood became less of a necessity and more of a suggestion, allowing filmmakers to tell stories that go against the grain when it comes to the necessities of living.
I Used to Go Here is a really funny yet modest take on “faking it ’til you make it”, as well as the internal wrestle between resisting and settling for feigned fulfilment.