The difference between a provocative film and a challenging one can be difficult to parse. Yet it's essential to understanding the success and occasional missteps of Ulrich Seidl's Paradise: Faith, the second part in a trilogy that, so far, has excelled at exploring the depths of human misery.
Originally published on Fri August 23, 2013 2:07 pm
"She's so pretty, she could be in any movie," a fan gushed after a screening of Joe Swanberg's Drinking Buddies. There's a lot more to Olivia Wilde than her feline loveliness, which, combined with a challenging stare that dares you to dismiss her as fluff, reminds me of a young Michelle Pfeiffer. But not much of that is allowed out to play in this strained comic drama about two young couples struggling to answer universal questions in particular ways.
A group foster home + abused and at-risk kids + tough love + junior staff nearly as troubled as their charges: The potential for cliche is everywhere in Destin Cretton's enormously engaging Short Term 12, and â€” happily â€” is everywhere avoided. What might seem on paper a cloyingly sentimental heartwarmer becomes, in Cretton's hands, a briskly believable, often funny, always invigorating and ultimately wrenching story of emotional fortitude.
When Raymond Chandler first set Philip Marlowe walking down the mean streets of L.A., he couldn't have imagined that eventually every city, from ancient Athens to 21st century Bangkok, would have its own detective series. Of course, they're not all equally good.
If you've ever participated in a miserably long pub crawl, you'll understand the plight of the characters in The World's End, the latest from Simon Pegg, Nick Frost and Edgar Wright. The film follows five old high school friends who reunite to finish a pub crawl they started 20 years earlier. But as they travel from pub to pub in their old hometown, they find strange, supernatural things start to happen.