I said it last year, and it applies in full right now: “For the last few years, I’ve pointed out that winning your Oscar pool in some ways depends on being smart about your selections […]
One of the hard lessons of Force Majeure, the latest film from the “not yet household-name level but maybe getting there” Swedish director Ruben Östlund, is that life deals most humans a crap hand. And most humans respond to them with childish petulance, at best.
In the rear-view mirror, the movies of 2014 look exhausting. So many of them kept us in our seats for well over two hours, and just as many failed to reach their creators’ lofty ambitions. Yet while the giants struggled this year, others flourished.
I’m not going to lie. Most holiday movies are at best mediocre. The noisy, overdecorated holiday movies are all too profuse. Instead, we should reserve our contempt for the movies that are not only stupid, but crassly manipulative.
In the increasingly distant future — 26 years ago this Thanksgiving, A.D. — the greatest Thanksgiving gift of all time was unleashed on the world. On Thanksgiving Day 1988, Twin Cities station KTMA aired the first episodes of what would eventually turn into arguably the biggest, most culturally significant cult TV show of all time.
The majority of movies centered around a true-life crime story typically work, in effect, from the event backwards. The story may be told in a linear fashion, but the crucial question usually remains: Why did this horrible act happen?
Much as I would love to review the newest installment of the Hunger Games trilogy (make that quadrilogy), Mockingjay: Part 1 suffers from the same phenomenon that Jason Matheson and I were discussing torpedoed much of the penultimate Harry Potter movie installment.
Fugazi, fugayzee. Bob Wier, Bob Wire. Trylon, McNally Smith. Point being, there’s a little something for everyone at this year’s Sound Unseen festival, so long as you have a song in your heart and don’t care whether you’re pronouncing they lyrics correctly.
According to the URL for this blog post, this is the 100th edition of “This Week’s Best Bets.” How time flies when you’re sitting in the dark for an untold number of two-hour chunks. And what better way is there to spend the aftermath of a long election campaign drawing to a close and some of the first snowflakes promising a long, cold, harsh winter ahead?
Whether it’s because a new generation of directors weaned on the classics are coming of age or whether it’s because the terrors of real life are informing a newer, nastier breed of them, horror movies have been on a tear in recent years.
Much like comedy, horror is one of the most subjectively-received movie genres out there. Just as you can’t really argue what people think is or isn’t funny, it’s difficult to convince anyone that they’re not scared if they’re squeezing the blood right out of your closest thigh.
When the Twin Cities Film Fest, now in its fifth year, organizers pinpointed October as their chosen berth for the buffet of new films, it wasn’t arbitrary. TCFF executive director Jatin Setia said it was a very conscious decision to have the fest appear exactly six months after the more well-established MSPIFF. And, of course, there was one other major reason.
I feel a little like Dom DeLuise’s Nero in Mel Brooks’ History of the World Part I. Only when he yelled, “More wine! More women!” I’m instead yelling, “More horror!” Yes, another October week with a number of scary screening options around town.
Basketball. The sport has been around for longer than football, but for whatever reason, there just aren’t anywhere near as many films centered around the sport as there are for football or, especially, baseball. So bear in mind of course that by “ever,” I basically just mean from the last three or four decades.
Check out this week’s best bets from repertory and limited-run screenings!