Spring Breakers left me conflicted more than any film in recent memory. As an aesthetic encounter, the film is suitably impressive – packed with gorgeously lurid, neon-tinted visuals and a narrative that liquefies past and present into a gooily immersive experience.
Ben Affleck's third directorial outing, Argo, is a remarkably effective and efficient Hollywood concoction based on the true story of CIA agent Tony Mendez and his elaborate scheme to get 6 Americans out of Iran during the hostage crisis of 1980.
God Bless America - Bobcat Goldthwait's attempt at sharp social satire - sadly ends up being a toothless, left-leaning wet-dream of an experience that revels in the vacuous culture it is simultaneously trying to critique.
THE DARK KNIGHT RISES is a loud, furious, intense, chaotic, messy and ultimately exhausting end to what is undeniably a pretty amazing trilogy that has redefined superhero cinema in a way that makes all the Marvel efforts seem juvenile.
The word 'epic' gets thrown around a lot in these hyperbolic times but there really is no better word to express the scope and ambition of GANGS OF WASSEYPUR - a 5 and a half hour, Indian gangster film that spans 70 years and follows one crime family through 3 generations.
In January 1964 Stanley Kubrick unleashed DR STRANGELOVE into the world just months after the assassination of JFK. In fact the first test screening of the film was scheduled the day the assassination took place.
The good old horror anthology film has been around almost as long as cinema itself. Every era or movement in film has dipped their toe in the anthology waters from the 1919 silent German work EERIE TALES to the Italian giallo BLACK SABBATH.
There is a point late in CRAZY, STUPID, LOVE (that final comma in the title is not my mistake but rather how the makers intended it to be written. I don't want to get into a huge grammar rant here but, by God it 's infuriatingly stupid) where Ryan Gosling takes his shirt off.