Drama, 104 Minutes, 2013
The purpose of some films is to make the audience think; to provide discussion topics. They lay out rules, set up pressures and obstacles then examine the reactions of their ridiculously verbose characters. Success might be measured by the time the audience spends discussing the problems posed. It might also result in a violent argument with dear friends!
Horror, 86 Minutes, 2016
Tommy Tilden (Brian Cox [IMDB]) is thrilled that his son, Austin (Emile Hirsch [IMDB]) is following in his footsteps. He’s been the county coroner for many years and has earned his reputation as a perfectionist. When the local sheriff finds a perfectly preserved corpse with no outward signs of trauma lying serenely among the tattered victims of a multiple… homocide? Suicide? Accident? – he goes to Tommy for answers.
Sci-fi/Horror, 110 Minutes, 2015
In the future nearly everybody on Earth lives below the poverty level, forcing people to take dangerous work. Mankind has implemented faster-than-light travel via a technology called “slipstreaming”. Matter is broadcast, somehow, to a specific point in the universe, where it’s reconstituted. It can then be called back at any time. This process is rife with danger and is extraordinarily error-prone, often leading to “data corruption”.
Comedy/Drama, 99 Minutes, 2010
Similar to 2011’s excellent “The Lie” [My Review], this explores how the pressures of life can sometimes force good people to make poor choices and, ultimately, how they deal with the consequences. Here, snarky, unpopular high-schooler Norman (Dan Byrd [IMDB]), has recently dealt with the death of his mother and is now watching his father (Richard Jenkins [IMDB]) succumb painfully to stomach cancer. When berated by a schoolmate about his recent flakiness, he blurts out that he has cancer.
Action/Sci-Fi, 96 Minutes, 2015
Films have toyed with first person perspectives for decades, usually only in small doses. Thrillers show us what the killer sees while horror and sci-fi let us stalk the heroes through heavily filtered monster-vision. Heat-vision, night-vision, x-ray-vision, robot-vision and whatever-vision have all been simulated time and again. It’s an effective gimmick, but can it carry an entire film?
Drama/Comedy/Romance, 118 Minutes, 2015
Remember the pain of the last time you were dumped? That feeling of betrayal and loss? How you’d mope around the house until the police came to take you to The Hotel where, if you didn’t find a suitable mate in 45 days, you’d be turned into the animal of your choice and let loose in the woods?
Thriller/Horror, 104 Minutes, 2015
Motels are creepy. Alfred Hitchcock knew that in 1960 when he set his classic thriller Psycho [IMDB] in one. By their very nature they’re nowhere. After all, if you were somewhere, there would be a hotel, right? Motels are where people end up when they can’t get where they’re going. Motels are awkward, uncomfortable, and far from people or the hope of help.
Comedy/Drama, 105 Minutes, 2015
At first blush (perhaps second and third, as well) this is a movie trying too hard. It’s a quirky indie comedy/drama that runs, intentionally or not, slavishly through the quirky indie comedy/drama playbook. The question is, does it have anything worthwhile to say?