Are you still thirsty for crime movies after soaking in The Irishman? You might want to give Line of Descent a shot. In no way is Line of Descent in the same league as Martin Scorsese’s masterpiece, but it’s a solid pick for people looking for to be entertained by lighter popcorn fare after watching Netflix’s consequential epic.
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…
Jerry G. Angelo wears many hats in American Warfighter. Not only did he direct the film and write the original screenplay, but he also performs as Rusty “Wolfman” Wittenburg, a Navy SEAL haunted by his experiences of battle. I wish I could say that Angelo’s efforts have resulted in an impressive film, but the truth is that American Warfighter isn’t just lackluster, it’s downright bad.
The selling point of For Love or Money is the outrageous premise that’s established well in the trailer. It offers a familiar dynamic, but is so suggestive towards the film’s comedic potential that viewers are naturally reeled in. If you enjoyed How to Lose a Guy in 10 Days or What Happens in Vegas, here’s a movie for you.
The “found footage” horror sub-genre has had its fair share of stinkers, but movies don’t get much lazier than 1st Summoning, an entry that seems to be as anti-audience as it is anti-climactic. Here’s a movie that sheepishly grits its teeth, waiting for viewers to pity it.
A Breath Away emerges in the midst of a growing number of films dedicated to portraying the horrors of environmental disaster. Timely as it is horrifying, A Breath Away is an emotionally-charged thriller that broadly follows the algorithmic pattern set by previous disaster films, and has little to say ideologically about its central issues.
An adventure is difficult to endure when it’s lacking thrills or fun. A film made by unenthused people is hard for an audience member to get wrapped up in. Antidote, a supernatural thriller starring mixed martial arts powerhouse Randy Couture, is an example of both unsavoury moviegoing situations.
Jamie Adams’ Alright Now, a romantic dramedy following a rock star following a particularly brutal double breakup, boasts that it is completely improvised. Here’s the funny thing about improvisation: you need actors who are good at it.
The central character in Dave Schwep’s Broken Star is a young actress fallen from grace: a drug-addicted, manipulative monster. Markey Marlowe (Crazy, Stupid, Love’s Analeigh Tipton) – a character and name that sounds like it’s come right out of a 1940s film noir – is placed on house arrest, with her only company being reclusive landlord Daryl (Tyler Labine of Mountain Men), whose grandmother has recently passed away. Over time, Marlowe manipulates Daryl into attacking those…
