Everyone enjoys H.P. Lovecraft. That is to say, I think there's something universally appealing about Lovecraft's strange and terrifyingly unique mythos. Something about the truly alien and unnatural images he conjured out of his fevered mind that tickles at some primitive part of our brain in a modern world almost completely explainable through science and study. There's an irresistible draw to something that, as it is told to us, is completely unfathomable to the human mind. Even those who aren't necessarily drawn to his storytelling, which is long-winded and expository, can find some draw in the unworldly qualities of a
Recently by Max Naylor
Eldritch rituals, gibbous moons, and Great Old Ones finally available in your home theater.
In its genre, John Carter gives you exactly what you're expecting to see.
You can run into a lot of problems trying to update a 100-year-old science fiction serial about a Civil War veteran who finds himself transported to inhabited, life-sustainable Mars, not the least of which is that most members of a modern audience are reasonably sure Mars is, in fact, uninhabited. We're not talking "there may be civilizations underground," but straight-ahead "there are warring factions on the surface of the planet that battle monstrous aliens and flying spaceships alike." These are the kinds of concepts that really put a director's ability to suspend disbelief to the test. It's an amazing thing,
Tarsem Singh gives the world another reason to be disappointed in the Greeks.
I love Tarsem Singh's directing. The striking visuals he's become known for made even The Cell watchable, as if the images he's able to orchestrate somehow make up for casting Jennifer Lopez in any role, ever. In a way, that might be the greatest vote of confidence I can give him. Watching The Fall, his first venture as a writer/director, I was blown away. There are few films I can point to that are as visually expressive, if only because of his truly unique style of directing, and I was sincerely looking forward to following his career and seeing how
Naming your comedy "Buzzkill" might be asking for trouble.
The Second City is as close as you can get to royalty within the comedy community. The vested troupe is the progenitor of pretty much all modern sketch comedy, and as such you'd expect any production involved with them would have an unassailable pedigree. This should be funny. God knows, watching it, it wants to be funny. A would-be writer whose script falls into the hands of a serial killer, who is in turn inspired by the script which gives the author a poorly founded sense of accomplishment. But while the basic plot might have been, at some point, a
How building a better tomorrow destroyed a community's 'today.'
You don't normally go into a documentary as a blank slate, a sincerely pure vessel. It is the nature of the medium that draws you in. You're interested in the rule of Idi Amin, or you really have always wondered about the font Helvetica, and the opportunity to learn more about a subject, perhaps a subject you didn't even realize sparked your interest until the moment you read the title, peaks your interest. It is therefore a rare opportunity to watch a film with almost no preliminary opinion or knowledge of the subject matter, and really affords the audience a
The thing that replaced 3-D as the biggest threat to Film in 2011.
Recently, at the Toronto International Film Festival, while viewing some of the most high-profile, innovative, and challenging films of the year, I was somehow compelled to attend a screening of a little movie called The Moth Diaries, scheduled alongside some of the most anticipated and critically acclaimed releases of 2011. I won't beat around the bush. Instead, I will make a simple statement now to give rest of what is written here some context. I wouldn't want any reader to believe my statements are hyperbole or farcical parody. There is no irony or sarcasm here, no attempt at satire. You're
Tom Cruise delivers with his latest installment in the saga of Ethan Hunt, the star secret agent of IMF.
When a much-hyped sequel is released, one question seems to pop up time and time again: "Do I have to see the others to get this one?" For the most part, when you're dealing with a franchise that has as much momentum as the Mission: Impossible films, we're hardly discussing an ongoing storyline. Yes, there are nods toward past plotlines, and familiar characters in greater or lesser capacities, but those 15 minutes of script devoted to continuity could easily be removed and replaced, leaving the audience with an entirely new film to be spun-off-of and, eventually, driven into the ground.