By: Jessica Goddard Home Again is for Hollywood, by Hollywood, about Hollywood. If you can deal with that, you might enjoy this safe and well-meaning romantic comedy. Hallie Meyers-Shyer’s Home Again (a title which never ends up making any sense) is rarely laugh-out-loud funny, but it’s often endearing in a snort-and-smile kind of way.
Death Note is a good movie, but it would’ve made a great miniseries. Netflix’s fast-track adaptation of Tsugumi Ôba’s popular manga series is light on characterization, with a troublesome lack of introduction by screenwriters Jeremy Slater (The Lazarus Effect), Charley Parlapanides and Vlas Parlapanides (the Parlapanides’ wrote Immortals).
By: Shannon Page Paul Weitz’s Grandma manages to cover a lot of emotional territory in its short run-time without feeling rushed or over-reaching itself. Lily Tomlin plays lesbian poet Elle Reid who is still mourning the recent death of her life-partner Violet when her teenage granddaughter, Sage (Julia Garner), arrives at her door pregnant. Together, the two women embark on a day-long quest to find the money for Sage’s abortion. It has been twenty-seven years since…
By: Addison Wylie It’s dangerous for a film like Palo Alto to have a character openly confess that movies nowadays are pointless. You expect that character to look straight into the camera and sigh. I was left sighing while I watched Gia Coppola’s feature film debut. I was also skeptically furrowing my eyebrows and skewing expressions in my stupor. Palo Alto could easily be resold as a workout video for voice actors. Coppola has taken…
By: Addison Wylie Ever since The Notebook’s crowd pleasing fame, there’s been a line of Nicholas Sparks adaptations brought to the big screen. Because these films have hit home runs at the box office, it wasn’t surprising to see other romantic book-to-film conversions follow suit. The trailer for The Fault in Our Stars gave off that cover of being “just another one of those romantic movies”. Movie goers who have read and fallen in love with…