Henry Winkler has a full resume, but he’ll always be known as The Fonz. His son, television director Max Winkler, will surely continue having a fruitful career as a filmmaker after releasing his sophomore effort Flower, an audacious flick for which he’ll be remembered for.
Across the past couple decades, Armando Iannucci has repeatedly shown himself to be one of the most important voices working in comedy. Whether we are discussing his hand in the creation of Alan Partridge or his blatantly political work in The Thick of It and Veep, Iannucci has shown that he has his hand on the comedic pulse of whatever age he may be in. Now, he’s decided to take on a new experiment: a…
Black-and-white is used and abused for style. We often forget how effective it is under limited resources.
Mom and Dad is a touchy sell, even if the film is up front with its maniacal plot about parents killing their children and how it shoots for the moon in terms of dark comedy.
Suck It Up was an encouraging sleeper flick that helped close out last year.
Audiences were recently subjected to a tasteless dark comedy about understanding death called Considering Love & Other Magic. Thankfully, movie goers can rebound with Suck It Up, another Canadian indie about comprehending grief that actually sticks its landing thanks to fantastic performances and Jordan Canning’s thoughtful direction.
Should I mention that Bad Grandmas was Florence Henderson’s last acting gig? Do I have to?
Set on the sunny California coast, director Matt Spicer’s Ingrid Goes West is a dark critique of social media that manages to hit its mark, despite some minor flaws.
Austin Found is yet another case where the trailer sells the audience on a different kind of movie. In two-and-a-half minutes, the film is presented as a foolish dark romp featuring incompetent criminals. At 100 minutes, it’s warped southern goodness that’s tonally confused and ends in irony.
Shimmer Lake is Coen Brothers-lite, yet it aspires to be a film worthy enough to stand beside those famous quirky noirs from the Academy-Award winners. That would require Oren Uziel’s movie to be outrageous, which it isn’t. An unfortunate discovery considering the leads are terrific comedic actors.