Posted by Hannah Buchdahl aka Mainstream Chick on February 6, 2015
Jupiter Ascending has a couple of hot leads in wide-eyed beauty Mila Kunis and the often-shirtless Channing Tatum (sporting too much eye-liner). But the movie itself is a hot mess, of inter-galactic proportions. Picture a confusing mish-mash of sci-fi and superhero flicks, with a bit of Princess Diaries thrown into the mix.
Posted by Jill Boniske aka Arty Chick on February 3, 2015
Writer/director J. C. Chandor knows how to keep an audience glued to their seats. With his first film, Margin Call, he had us wondering until the final scene whether a Wall Street firm would crash and burn. And in his second, All is Lost, he was able to make a man all alone in a life raft compelling for nearly two hours. With his third film, A Most Violent Year, he has found another story that would not seem to be terribly interesting and found the tension that forces the audience to care. Set in 1981 in the heating oil trade, it is the tale of a good guy trying to keep his integrity when everything is set against him. Oscar Isaac (Inside Llewyn Davis) plays the central character Abel Morales, an immigrant made good who is doing everything he can to build a business and take care of his family, but it is the most violent year in modern New York City history and you’re not sure if he can make it.
Posted by Hannah Buchdahl aka Mainstream Chick on January 23, 2015
Song One feels like one of those low-budget indie flicks that a bunch of college friends got together to shoot in the middle of the night, with the theater class’s star pupil lending her talents to the endeavor. The narrative is (more than) a bit contrived, but you can’t help but root for the film and its characters. Song One is a romantic drama set against the backdrop of Brooklyn’s indie music scene, so it’s sort of like a less gritty, more contemporary Inside Llewyn Davis with a chick-flickier edge.
Posted by Jill Boniske aka Arty Chick on January 22, 2015
This is definitely not a film for everyone. It is a very arty, beautifully shot story of a lesbian couple who enjoy a rich dominant/submissive sex life. But it is no Fifty Shades of Grey wannabe. Instead it is a surreal, sensual meditation on a loving relationship and lengths people will go to for the ones they love.
Posted by Jill Boniske aka Arty Chick on January 20, 2015
War is hell. So is this intensely polarizing movie. You either love American Sniper or hate it. I was one of the latter. Adapted from a biography of the same name, it is the story of U.S. Navy SEAL Chris Kyle (Bradley Cooper) who became a hero to many for being our most lethal sniper and killing the most Iraqis. My problem with the film is how the whole situation is portrayed as entirely black and white. Kyle and the Americans are the good guys, and every single Iraqi is evil. I am sure to the men and women who fought there, that was the perfect rationalization for what they did, but as storytelling goes, it leaves a lot to be desired.
Posted by Hannah Buchdahl aka Mainstream Chick on January 18, 2015
My biggest hang-up with this Bridesmaids-meets-Hangover-esque comedy is that it’s hard not to listen to its star, Josh Gad, and not picture the animated snowman Olaf from Frozen. The ‘characters’ may be different – but their voices are exactly the same. So it takes some getting used to! Do you wanna build a snowman…?
Is that all that’s wrong with The Wedding Ringer? No. But there’s plenty that’s right… including a story that is sweet and relatable at its core, and a cast of characters that generate plenty of laugh-out-loud moments. It’s basically a ‘buddy movie chick flick’ that offers up an entertaining escape from the somber awards-season fare.
Posted by Jill Boniske aka Arty Chick on January 1, 2015
I have liked Paul Thomas Anderson’s films a lot in the past (Magnolia, Boogie Nights, There Will be Blood,) and Inherent Vice has a lot of the elements he is known for — a great ensemble cast, intertwining story lines, a sense of the world being off kilter. But in this case, it just never seems to come together. By the end of two and a half hours, you are as befuddled as the pothead protagonist, all the while thinking that it has to ultimately make sense. My suspicion is that adapting this (or any other) Thomas Pynchon novel seemed like a great challenge, since no one has done it before. But I think this film should serve as a cautionary tale for future screenwriters who think they’ll be the one who gets it right.
Posted by Jill Boniske aka Arty Chick on January 1, 2015
If you have a adolescent nephew, this is the perfect flick to share. It is full of dumb laughs and mostly harmless hijinks (unless you happen to be Kim Jong-un.) And it is funny. I laughed quite a bit, between cringes over silly bathroom humor. And as my teenage nephew noted at the end, “It was better than The Hobbit.” (Yep, we saw that too, and the consensus was that it was the weakest of the trilogy.) It does help that we watched The Interview at home on a nice big screen, not paying theater prices, and our expectations were pretty low to start with. But as dumb movies go, it doesn’t suck.
Posted by Hannah Buchdahl aka Mainstream Chick on December 23, 2014
Apologies. I’ve been remiss in posting my reviews. So in the interest of time – and a quick read for those planning a Christmas holiday escape to the movies – here are some of my picks, and misses:
Selma – This is, hands down, one of my favorite movies of the year, though it’s only opening in limited release on Christmas (NY, DC, LA, Atlanta) before expanding nationwide on January 9th. If it’s playing at a theater near you, check it out. It’s about the 1965 MLK-led civil rights marches from Selma to Montgomery, Alabama that culminated in passage of the Voting Rights Act. Its message of civil disobedience and non-violence to enact change is relevant, timely and powerful.
Posted by Jill Boniske aka Arty Chick on December 11, 2014
There is a lot of buzz around Force Majeure, a Swedish relationship drama. They LOVED it at Cannes, it is Sweden’s Oscar entry, and the Foreign Press has just nominated it as best foreign language film. But the question to me is, does it appeal more to European audiences than Americans? I liked it and I think it is a well-done film with a compelling question at its center, but best film?