A possessed pair of jeans wrecks havoc on retail workers in Slaxx, a Canadian horror-comedy from the producers of Turbo Kid that isn’t nearly as funny as that pitch but wins the audience over with outrageous and relentless kills.
Family films that feature kids “makin’ all the rules” isn’t exactly fresh or inventive. So, why did I like Yes Day so darn much when I know that it follows this same template? Did this sub-genre improve? Have I gotten softer? While these reflections are valid, it sounds like I have to blame either the movies that came before this one or myself to justify liking Yes Day. Embracing Yes Day shouldn’t be driven by…
In Minari, a Korean family travels from California to build a new homestead in Arkansas; in hopes that they’ll be able to create a farm and make a decent living selling their culture’s food to local markets. This premise, however, is merely a clothesline for writer/director Lee Isaac Chung to hang up different moments in this family’s life that will, eventually, piece together their memories and future.
Freaky is not only one of the better examples of a body-swap story, it’s also one of the best horror-comedies ever made. It’s consistently hilarious, shockingly violent, and filmmaker Christopher Landon is quick to take note of the formula’s hindrances and correct them.
When you watch Barb and Star Go to Vista Del Mar, a new buddy comedy written and starring Kristen Wiig and Annie Mumolo, you start associating other movies with it. “This is Kristen Wiig’s Austin Powers”, “This is Kristen Wiig and Annie Mumolo’s take on A Night at the Roxbury”, “In fact, this is the best Saturday Night Live movie that never was an SNL skit in the first place!”. The viewer does this because…
Written and directed by Victor Neumark, First Blush is the story of a young married couple, Nena (Rachel Alig) and Drew (Ryan Caraway), who decide to open up their relationship after they meet a beautiful young actress named Olivia (Kate Beecroft). For a feature film debut, First Blush is passable and hints at Neumark’s talent for exploring complex interpersonal dynamics. However, as a depiction of polyamory, it misses the mark.
As much as I’m glad pro-choice movies are becoming more frequent in the mainstream eye, it’s refreshing to watch a movie about a couple who are thrilled to be expecting a baby. That nice feeling washed over me while watching Curtis Vowell’s humble comedy Baby Done, which plays as a millennial’s version of This Is 40 that’s just as funny with as many rough edges.
Promising Young Woman is a provocative call to arms that’s both committed to its cause and impossibly funny. It’s one hell of a feature-length debut from writer/director Emerald Fennell, who has previously acted on the UK’s Call the Midwife and Netflix’s The Crown, as well as wrote for AMC’s Killing Eve.
Romantic comedies can get away with just about any sort of off-the-wall, clichéd nonsense as long as the film sports genuine charisma. The power of uplifting attitudes and chemistry can help viewers go along with unusual plots and characters, and also convince the audience to root for silly love stories.
By: Jolie Featherstone Imbued with dry wit and heaps of quirk, Keith Bearden’s high school-outsider dramedy Antarctica leans into absurdist humour to highlight the pressures and barriers teenage girls are facing today.