Bleakness and Ambitious Storytelling Abound in Before the Devil Knows You're Dead

Before the Devil Knows You're Dead begins with a bank robbery gone awry. A masked man tries to get money out of some mom-and-pop jewelry store while holding an elderly woman at gunpoint. We do not know who any of these people are or what their motivations are. We just know that this is not how things were supposed to go. Eventually, the masked man is shot while the elderly woman is also left deceased. As getaway driver Hank Hanson (Ethan Hawke), seeing that his cohort is dead, drives away in a panic, the frame freezes. From here, writer Kelly Masterson and director Sidney Lumet begin to travel down a non-linear path to show the viewer exactly what went wrong here and why.

Vincent D'Onofrio's Directorial Debut The Kid Is A Forgettable Trip To The West

Back in the early 1990s, Unforgiven was like a shot heard 'round the world for Westerns as it provided a more contemplative take on the once-omnipresent genre that saw Clint Eastwood do a realistic deconstruction of his fabled Man With No Name persona. Since then, most Westerns have used Unforgiven as a creative touchstone, especially in terms of being more conscious of the gruesome violence that transpired in the Old West compared to many classic Westerns. Such widespread imitations of Unforgiven have meant that the elements of Unforgiven that were once trailblazing are now themselves old hat. By contrast, the best recent Westerns have been films like Rango, True Grit and Slow West that have established their own unique identities rather than do their own variation on the somber contemplative mood of Unforgiven for the umpteenth time.

Before Sunset Is Top-of-The-Line Romantic Drama Cinema

It took me six years, but I've finally watched all three of Richard Linklater's Before movies. I inadvertently decided to watch these in an order that is guaranteed to understandably make many people's skin crawl as I first watched Before Midnight in its initial theatrical back in July 2013 before finally getting around to Before Sunrise just last August and then finally coming around to Before Sunset on Valentine's Day 2019. This wasn't my long-game attempt to create some kind of Machete Order for viewing these three movies, it was merely my inability to watch the original two movies before seeing Before Midnight combined with me taking forever to get around to watching its two predecessors. 

Before Sunrise Kicked Off A Sprawling Intimate Story Excellently

I believe I have to turn in my Film Critic Badge for saying this, but I saw Before Midnight in its summer 2013 theatrical run without having seen either of its two predecessors. I know, I'm a heathen for doing so, but even without knowledge of the prior films, I still loved Before Midnight, it was easily one of my favorite movies of 2013 and it got me hooked on Richard Linklater, one of my all-time favorite directors, as a filmmaker. Five years after watching Before Midnight, I felt it was high time to finally watch the two movies that preceded Linklater's 2013 gem, because I'm timely like that, a mission I would kick off with an inaugural viewing of the 1995 motion picture Before Sunrise.

Writer/Director Paul Schrader Delivers Something Equally Bleak And Unforgettable With First Reformed

If you were to do a film festival dedicated solely to films that serve as morose meditations on man's relationship with God, you'd have plenty of high-quality options to choose from. Ordet would certainly be an option, ditto for Au Hasard Balthazar. If you're looking for modern-day examples, well, let's totally throw Noah and Silence in the line-up too, those two movies never get enough love. Another recent movie that totally should be included in this theoretical film festival hails from director Paul Schrader and is entitled First Reformed. If you're wondering if First Reformed is bleak enough to join the likes of Au Hasard Balthazar, trust me, it most certainly is.

Maudie Is As Sweet And Lovely As A Well-Done Painting

Art can be such a wonderful escape from the real world. This is by no means a novel concept in the world of storytelling but there's a reason it keeps cropping up so frequently, it really just resonates with people and helps get at the very crux of why we, as a species, have been creating art for so many years now. Since the dawn of time, we've used art as a way to momentarily escape our own surroundings in a healthy and enriching way. I know that's been true for myself personally and a bunch of other people in my life, so why shouldn't it be a recurring template for storytelling, including as a plot point in the new drama Maudie?

The Visuals In Valerian And The City Of A Thousand Planets Are Glorious But Why Did They Have To Be In Service Of Such A Clunky Story?

Twenty years after The Fifth Element premiered to initially mixed reviews and then a massive cult following, Luc Besson has returned to the world of gonzo science-fiction, this time adapting the late 1960's French comic by Jean-Claude Mezieres that Besson loved as a kid and managed to serve as an inspiration for his own The Fifth Element as well as plenty of other high-profile science-fiction projects. Fifty years after that comic originally premiered, it's gotten its own big-budget French movie (though the dialogue is entirely English save for extra-terrestrial languages), one that attempts to replicate the artistic success of The Fifth Element.

The Magnificent Seven Is The First Modern-Day MGM Remake That's Actually Good

MGM, in their post-bankruptcy state, has been going through their library of titles and remaking everything so exhaustively, it'd be amazing if the remakes typically weren't so forgettable. A RoboCop remake came and went without any fanfare and (like most moviegoers) I never even saw their Poltergeist and Ben-Hur remakes. Before the studio embarks on a Death Wish remake starring Bruce Willis that'll start filming at the end of the month, we have their latest remake of a well-known MGM from decades past (with the original film itself being a remake of Akira Kurosawa's Seven Samurai), The Magnificent Seven.

Training Day Still Needs Its Training Wheels When It Comes To Handling The Concept Of Consistency

It's interesting that Antoine Fuqua and David Ayer would team up for Training Day, since the duo seem like two birds of a feather in their directorial efforts. Both filmmakers tend to helm projects that are heavily action-oriented that so blatantly bask in the most overt bro-tastic concept of masculinity, their movies tend to become the cinematic equivalent of Steven Seagal bench-pressing Jeremy Piven while listening to Nickelback. For the 2001 motion picture Training Day, Fuqua takes on directing duties (this was only his third time directing a feature film) while Ayer handles the duties of screenwriting.

My Current Best Supporting Acting Nominee Predictions!! (January 1, 2015 Edition)

Well, here's the final (for now!) set of my Oscar predictions. This time around, I'm covering the Supporting Acting categories, Best Supporting Actor and Best Supporting Actress specifically. Shall we get this started then?

Boyhood Review

A Life of Thoughtfulness

I'm one of those guys who just thinks. A lot. Like, I can't turn off my brain. That's probably what's made me so cautious as a person; I can't help but think of every possible scenario that can come from any given scenario. As one might expect, my thoughts can occasionally drift to the heavy stuff, like the point of existence. Now, to go with my ability to do such deep thinking, is my photographic memory. I'm a visual kind of dude, and I can remember the smell, surroundings, feel of almost every single moment in my life.