Tag Archives: trailer

Watson’s Review of “The Hobbit: An Unexpected Journey”

The problem with “The Hobbit: An Unexpected Journey” — and it’s a problem many fans have likely foreseen — is that it follows in the Middle-earth-shattering footsteps of a giant. Peter Jackson’s masterfully assembled “Lord of the Rings” films, based on J. R. R. Tolkien’s classic fantasy book series, arguably made for the greatest trilogy to have ever graced the silver screen: staggeringly epic, meticulous in its world-building, showered in Academy Awards and instantly amassing a legion of hardcore enthusiasts, it was a crowning achievement that, for some, was the true “Star Wars” of the noughties. By sheer comparison, this first entry in a three-part adaptation of Tolkien’s more kiddy-friendly “The Hobbit,” while boasting its own thrills and charms, comes up a little short — it’s a hobbit pitted against a giant it couldn’t possibly outmatch.

It’s a comparison that might have been uncalled for if it weren’t for the direct connections Jackson makes between this new prequel trilogy and the earlier films: a wholly unnecessary prologue finds Ian Holm’s Bilbo Baggins and Elijah Wood’s Frodo having a chat in the former’s humble home, while Cate Blanchett, Hugo Weaving and Christopher Lee briefly return in a visit to the opulent Elven outpost Rivendell. Even some of the musical cues are the same: the re-introduction of the Shire is soundtracked by Howard Shore’s whimsical piece “Concerning Hobbits,” and the appearance of the one true “precious” ring is greeted with that ominous string melody from “The Prophecy.” (Continue Reading…)

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Watson Reviews “The Adventures of TinTin”

“The Adventures of Tintin: The Secret of the Unicorn” is a master class in visual extravagance which should be attended by any filmmaker intending to create a spectacle; they may learn something. Teaching this master class are legendary director Steven Spielberg and cinematographer Janusz Kaminski, Spielberg’s photographing partner since 1993’s “Schindler’s List.” Together, they create a dizzying thrill-ride so dazzlingly thrilling and a visual spectacle so visually spectacular that it could be described as inspiring; I myself found it endlessly riveting and frequently breathtaking.

As you should know, “Tintin” is based on the classic series of comic books – specifically “The Crab with the Golden Claws,” “The Secret of the Unicorn” and “Red Rackham’s Treasure” – by the Belgian artist known as Hergé. I myself am vaguely familiar with the books; I remember reading a couple of them as a child and enjoying them. As far as I can tell, writers Edgar Wright (“Shaun of the Dead”), Joe Cornish (“Attack the Block”) and Steven Moffat (“Doctor Who”) do a more than fine job in representing the beloved characters and the adventurous tone set by Hergé. (Continue Reading…)

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I Love Movies, But I Hate Yours: Captain America, the First Avenger

It’s with the release of “Captain America: The First Avenger” that the superhero genre takes a well-deserved break until 2012. Earlier this year, the genre has offered us “The Green Hornet,” “Thor,” “Super,” “X-Men: First Class” and “Green Lantern,” which amounts to a bit of a mixed bag for 2011 superhero flicks. And if anything, the very decent “Captain America” thankfully pushes this generally mixed bag further into positive light.

“Captain America” is directed by Joe Johnston, the man who previously gave us the somewhat similar “The Rocketeer” in 1991. It is of course based on the notably patriotic Marvel Comics superhero who first appeared in 1941 in his very own comic book worth 10 cents, the cover of which depicted him swinging his knuckles into the face of Adolf Hitler; go America, I guess.

In case you don’t know, the true identity of Cap USA is Steve Rogers, and the character is here played charmingly by befittingly American actor Chris Evans (“Scott Pilgrim vs. the World”). For the first 40-or-so minutes of the film, when Steve is still to be turned all superhuman, Evans’ markedly beefy body is altered through special effects to appear small and scrawny, an effect which is rather seamless. (Read Full Review)

Eight outta Ten

Watson

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Trailers of the Weak–May 2011

The Muppets

It took a while for everyone to truly appreciate the Muppets for what they were. The ball’s in your court, Segel.

50/50

This may be the most depressing thing Seth Rogen’s done since The Green Hornet. But this might actually be good.

Shark Night 3D

From the people who brought you Hostel and Texas Chainsaw Massacre comes another formulaic shitfest that only people who hate money will see.

Happy Feet Two (in 3D)

It’s hard to be too critical of stupid kids movies because they’re not trying to get my money. And they basically only serve so that Spanish families can drop their kids off in a G while they sneak off to a hard R.

YellowBrickRoad

I was actually hoping this would be a Wizard of Oz with a horror spin…and that’s because I’m an idiot. I may watch this one though, in a week, when it’s on Netflix.

Transformers: Dark of the Moon

I would say this movie has all the ingredients for a multi-million dollar suckfest, but where’s Megan Fox?

The Adventures of Tintin

Though the real-looking computer animation is still far from not-creepy, I’m excited about this one. All the right pieces are in place. So, let’s just hope there’s not a user error.

Alex G

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Christopher Nolan and his INCEPTION

Could we just be honest with ourselves and admit that Inception was a cinematic masterpiece that far-exceeded anything he has done in the past?–and, yes, that does include The Dark Knight. Typically, when a film maker with Nolan’s talent and ability creates a picture of this quality, he has shit the proverbial bed.

Not so, I feel, with Christopher Nolan. From Insomnia to The Dark Knight, Nolan has never really been “disappointing” to me. But he is also a director with a vision we do not know much about yet. We haven’t really gotten “used” to Nolan outside of our Batman expectations and his obvious admiration for fine actors and Film Noir.

But let’s return to the point I made earlier–the heretical statement that Inception was somehow a superior film than The Dark Knight. Bloggers and columnists have actually managed to scribe a thought so profane and mind-numbing that I’m hesitant to believe that they even take themselves seriously. The idea was: “Now that Nolan got this dream-movie out of his system, he can get back on track with the next Batman sequel.”

Really? Fuck you. Really?!

Don’t get me wrong–The Dark Knight was phenomenal, as was Batman Begins–but they are (for all technical purposes) Comic Book Superhero movies. Of course they can be done well in the right hands. The source material is virtually infinite–you know all of the stories and how they turn out–and for fuck’s sake, after Batman and Robin, as long as the Batman isn’t wearing ice skates, I’m impressed.

But Inception takes film to a whole other level (like Avatar, except not totally gay) and it shows. Chris Nolan showcased some of the greatest actors in Hollywood today–and I’m not just saying that because I’m a total homer for Joseph Gordon Levitt, either…(wasn’t Brick fucking amazing?)

Hopefully this film puts Levitt on such a cinematic plateau that he will never even have to think about being in a G.I.Joe movie ever again.

There’s one more thing I’d like to say about this movie–and I’ll leave the rest of the review to Watson (coming soon)…

Without spoiling anything–at least nothing that hasn’t been spoiled already–let’s talk about the ending.

And the only thing about the ending that can be said is that you’re either going to laugh, groan, or let loose a string of profanity toward the big screen and everyone you care about. But before you do, know this: it doesn’t matter.

Inception‘s conclusion is insignificant, but not without meaning. The lifeblood of the film is in the journey and the mental labyrinth involved in the psychology and philosophy of dreams–exhibited in a kind-of Matrix and Minority Report level of sci-fi with a Dark Knight level of Noir modern-ish realism.

Essentially, it’s enough of a literary mixing pot to make an English Professor jizz his pants.

Think of the film’s ending as an inside joke with the audience–a tongue-in-cheek jab-in-the-ribs that all of you are a part of after sitting through the movie. Of course it will have you talking. It will have you talking for fucking hours.

…but when you walk out of the theater and hear someone’s cunty girlfriend asking, “Wait, so what happened? I don’t get it.” Try to ignore it, and be safe in the knowledge that–not unlike the finale of LOST–you’re amongst a demographic of people who “get it,” and that’s what makes this film so much more special than many will inevitably realize.

And if that makes you an asshole, so be it. Be an asshole in IMAX.

Is all that we see or seem but a dream within a dream? Poe. Edgar Allan.

Alex G/

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A Heavy Rain’s Gonna Come

Since a very young age, I’ve looked to the medium of electronic arts/digital media for hope, inspiration, and most of all–fun. Virtually all video games, if you don’t count Minesweeper, used to unwaveringly be copious amounts of fun. The drawback, of course, was that they were all practically the same.

Either you were playing Super Mario Brothers or you weren’t. And if you weren’t, you were playing Tetris or Centipede or some other horrible excuse for a waste of time. Gradually, video game creators took into account that everyone who wasn’t “fucking retarded” was playing side-scrolling adventure games.

It really does look this good.

Sooner or later, everything became a side-scroller like Mario, but with guns, or fists, or whatever device served the theme of the game. But all of these games were inevitably the same. There were no core differences except for the subject matter that separated a Simpsons game from Streets of Rage.

They thought they had the market figured-the-fuck-out, and then suddenly it all changed. Nobody knew what they wanted anymore and the video game clusterfuck began.

Some wanted virtual reality. Some wanted old school side-scrollers. Some wanted to choose their own adventure, and some wanted Tetris.

When I look at what video games have become today, I feel like a frightened geriatric desperately searching a dark room for something familiar.

...and tits.

A younger me expected the future of gaming to be nothing but virtual reality. But an old and wiser me doesn’t even want to have to move from my ass-imprinted sofa to put the fucking game in, let alone to play it.

As the video games evolve, as does the subject matter. For a younger me, it was always about rescuing a Princess. An old and wiser me doesn’t give a shit about a Princess; I just want to see how many innocent civilians I can murder before the cops mow me down.

It’s not a healthy attitude to have–especially when you’re not playing a video game. (JK?)

I can’t get enough of these new experiences, characters, and stories that developers allow me to enjoy–and I’m never satisfied. Games can either be like crack or heroin. When it’s crack, it’s the most fun you’ve ever had and you’re pissed off when there’s no more. Your dealer gave you the best he could and didn’t even charge you a price comparable to what you’ve paid for lesser quality shit. And when you’re done–you’re angry.

When it’s heroin, you’re just passing time until the next one. Right now, video games are my heroin. I love the feeling, and it makes my dick hard, but I’m only really passing time until Heavy Rain is released next week.

The innovation, detail, and attention that went into Heavy Rain for PS3 blows my mind–and I can’t wait to play it. The demo drove me fucking nuts and now I’ve got bugs crawling under my skin.

Despite its criticisms, I remain delightfully optimistic that it will be one of the best gaming experiences I’ve ever had. And then, surely, it will become crack. I’ll play for hours and hours, go days without food, wind up pissing myself, finish the game…

…and then I’ll be angry. Circle of life.

Alex G/

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Movie Trailer Round-up: A Bad Start

This year is so young, it’s barely got its eyes open yet. We’ve already seen a mediocre State of the Union address, and an uninspiring and uneventful Golden Globes and Grammy Award Ceremonies. On the road approaching the Academy Awards (oh, it’s coming!), we start to look back on the good-to-pretty good movies of 2009. But that’s a mistake!

We’ve already seen those movies. We know who’s going to win, probably…2009 is over, and it’s time we forget the movies it brought with it. It’s time to look ahead, to the future of cinema, and to the trash that Hollywood pushes on us at this juncture.

Red Riding–Looks like a worthwhile flick. Gritty, action packed, subtle…everything an indie film should be.

Repo MenThe concept was obviously ripped from the just-okay-rock opera Repo: A Genetic Opera, but it stars Jude Law and Forest Whitaker, so I’ll bite.

City IslandCan we please have an indie flick that’s not Juno? Juno was good–I liked it–but does every fucking independent movie have to be Juno?

Dear JohnIf The Notebook made you cry, then you probably shouldn’t see this movie. You should probably just stay in your apartment and play with your cats.

MacGruberWhen Saturday Night Live used to make movies, they based them on time-honored skits by top-notch comedians. Now they throw together 2-second bits and shit out a blockbuster.

Bass AckwardsI don’t understand art anymore. The title makes it seem like a fun and hilarious romp through goofsville, but the trailer shows me a weird, artsy, dramatic scenester clusterfuck.

Season of the WitchNicholas Cage and Ron Pearlman doing olde English accents is one of those things that should be filed under “NEVER LET IT HAPPEN AGAIN.”

Kick-AssIf this movie turns out like I want it to, it will easily be one of my favorite movies of the year. Kick ass.

Alex G/

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Dear Rob Zombie, Please Come Home. We Love You.

alexbwBecause going to see Rob Zombie’s remake sequel masterpiece Halloween II felt like a chore wrapped up in a homework assignment, I’d better go ahead and review it, lest I find no closure in my wasted time and money. Am I being unfair? Perhaps too extreme? I’m open to your comments, but please choose your words wisely, for they shall inevitably be your last.

I only actually saw the last 45 minutes–or so–of Rob Zombie’s first Halloween remake, but I figured I probably wasn’t doing myself any disservices by jumping head-first into the sequel. I actually thought the first remake of Halloween was watchable. It didn’t blow me away or anything, but it brought Zombie’s visual freak show to an already established series, and it sort-of worked. Whether you liked it or not is up in the air, but it represented what Rob Zombie is–and that is a heavy-metal-style with an (at times) uncomfortable penchant for the bizarre.

As much as this sequel felt forced, I suppose–at least in Zombie’s mind–it had to be made. His vision of the Halloween series hadn’t been completed with one movie, and Michael Myers can’t just die! So, because you bitched about his first flop, he had something to prove. It was as if he said, “Wait, wait! I know you hated Halloween, but it just wasn’t done yet! You’ll see!” Oh, and we did, unfortunately.

I very rarely achieve the mental state at which I can no longer be satisfied with life unless I walk out of the theater before the film ends, but sadly, it does happen. To be fair, I attempt to avoid this miserable crisis by only going to see movies that I’m fairly certain I’m going to enjoy. But there are times when a potentially decent film will completely miss the mark. Halloween II did.

I cant decide which is more creepy...a Halloween obsession or a William Shatner obsession.

I can't decide which is more creepy...a Halloween obsession or a William Shatner obsession.

I’ll avoid any spoilers in case you choose to use your time/spare cash foolishly and head out to see it; but the film starts off with another look back into Myers’ childhood (which I quite enjoyed) and then crash-lands into a ridiculous display of unprecedented expected graphic violence, which I would have no problem with if that weren’t all the movie was. Scout Taylor-Compton is a talented girl and her role as Laurie Strode/Angel Myers (this shouldn’t be a SPOILER) made me forget all about Activia spokeswoman Jamie Lee Curtis. Sadly, she couldn’t save the movie.

The main element that the film could have completely done without may be the part of the movie that Rob Zombie cared most about, and that was the ghosts of Michael’s past, his childhood self, his mother, and a white dream-horse–don’t ask. The constant flashes of these non-characters were not only arbitrary, but also distracting from the heartbreakingly predictable plot that Zombie was attempting to unfold, while simultaneously including his own wife in as much of the film as humanly possible.

...can you REALLY blame him?

...can you REALLY blame him?

One question that I must ask, for the sake of this argument, and for you to wrap your critical-thinking minds ’round is this–have horror movies gone downhill, or do we simply–but wrongly–embrace “classic” horror flicks even though they fucking suck, and are–at times–pretty gay? This is not a blanket statement, and more of a rhetorical question, but look…the original Halloween was creepy and scary for the time, and it still has its impact now, but think about it. The plot was literally: “A guy in a spray-painted Captain Kirk mask kills babysitters.”

“Classic” Serial Killer flicks like Halloween and Friday the 13th have been done to death–except the villain never dies! Even the originals were pretty yawn-worthy, and I’m not being facetious. I want to see these movies re-imagined, and Rob Zombie seemed perfectly capable of doing that…it just didn’t work like it should have.

Rob Zombie took a painfully simplistic plot and gave the killer a deeper character, and even made Laurie Strode a semi-likable character (who isn’t a hermaphrodite). Even if you don’t like Rob Zombie’s movies, style, or writing, he accomplishes a feat which may be considered impossible for a merciless serial killer flick: He makes the audience like the killer. This is indeed a task that has been accomplished many times before–but Rob Zombie happens to be a master at it.

You like me! You really like me!!

You like me! You really like me!!

Aside from the helpless children who Myers slaughters, most of his kills are people who try to harm him in some way first. One of the most memorable scenes in the film (and when I say “one of,” I mean, “the only“) is when Myers stops by a strip club (for no fucking reason) and kills one of the employees by violently stomping his face into the ground until it’s ground beef. Wonderfully cringe-worthy.

If it sounds like I’m praising this film more than I’m arguing against it, it’s because I like Rob Zombie. I admire his talent, vision, and achievements. Halloween II just wasn’t a home run. As long as we’re using baseball analogies, I would probably call it a foul. He swung for the fences, he really did…but the ball wound up flying far out into the stands and decapitating one of the security guards.

I would consider him a powerful force at the plate, though. Hopefully the only thing that could bench him now is a Halloween III.

Alex G/

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Jennifer’s Body and a One Trick Pony

alexbwDiablo Cody, the ex-stripper pop culture junkie who gave the world the Award-Winning film Juno (only to make us instantly regret it), has dropped off the radar for awhile; that is, at least, for those who haven’t been obsessively stalking her in hopes that they might be able to score a sneak peek at the imaginary Juno II.

Wanna know what she’s been up to?

Are you sure? 

If you really want to hear about it, Cody has been hard at work re-enforcing Megan Fox’s point that being an attractive young actress yields very few opportunities to be taken seriously.

Cody’s new film, Jennifer’s Body, is a comedy/horror conglomerate that answers questions that no one was asking; questions like: I wonder if Diablo Cody could make a horror movie sexy and funny?

The answer, of course, is: Probably, but not without consequence.

Juno was a pop culture phenomenon which has been completely forgotten about (except by MTV) since the release of Superbad–a film that made Michael Cera lovable to people who “don’t get” Arrested Development.

Jennifer’s Body, on the other hand, seems to contain the same quirky dialogue that made Juno intolerable to some, and that makes Gilmore Girls intolerable to everyone. But, judging from the preview (one of which was released with BRUNO this weekend), the dialogue seems to be presented with a slight tongue-in-cheekness.

Whether or not Diablo Cody wants this film to be taken seriously is debatable; however if the film’s objective is to give Cody’s Hot Topic fans something to get wet over (which I’m certain it is), it’s a total win.

Megan Fox portrays a super sexy popular high school girl (no shit?) who is possessed by a demon and sets out to seduce and kill/devour high school boys…which leads me to believe that Diablo Cody’s youth was either lost or misspent.

Horror fans will eat this up (no pun intended) if they weren’t annoyed to all hell with Juno…and Juno fans will enjoy it, if they’re not completely turned off by Megan Fox at this point (and who isn’t?).

What annoys me most is Fox’s statement that she wants to be a real actress and all these special effects movies she does are for shit because they’re not really about acting as much as they are about explosions and being attractive. What is this? Breaking the Magician’s Code?

Here’s how they do the trick, Megan: They pay you to dick around and be pretty on film so that guys nerds will pay to see a shitty sequel to a shitty robot movie.

Is it time for Megan Fox to go away for awhile? Maybe get addicted to something, check herself into rehab, come out in a year, and make some phenomenal piece of Arthouse horseshit that winds up winning every award possible…?

The red band trailer makes me hate myself for wanting to see this. Maybe I have some kind of inexplicable man-crush on Adam Brody…or a weird/quirky straight-crush on Amy Sedaris.

Either way, I have nothing against Diablo Cody, personally, but when your very first film explodes to an unpredictable degree of  critical acclaim, I think it’s safe to say that you just might have shit the bed.

Ask Kevin Smith.

Alex G/

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Trailers of the Week: Memorial Day Edition

alexbwBefore you start to fling about your rampant accusations, let me just say–in my defense–that I am inflicted with the most horribly debilitating of physical and psychological diseases. No, it’s not Swine Flu. It’s Summer Laziness. The symptoms of which are chronic procrastination, writer’s block, and an ever-increasing ass-groove in what had once been a perfectly usable sofa.

I have written (and brought forth from others) a plethora of fine material with which all you fun-junkies can shoot up, snuff up, or swallow up for quite some time. My recent activity has been lax; and by lax I mean insignificant; and by insignificant I mean I’ve done fuck all in the past few days.

I’m granting Dave (the recently missing member of the site) a bit of a grace period for article writing. Truth be told, by this I mean, I just don’t have the energy to demand much anymore.

I’ll keep up my duties to the best of my ability, while retaining some semblance of unfounded hope that there is some Biblical face-melting Ark of the Covenant full of sparklingly witty original material buried somewhere under the piles of clothes, trash, and artifacts of gobbledygook in Dave’s room; which, if a mini-shit-storm apocalypse should come tomorrow, would be looked upon by future generations of Archaeologist Mole People with puzzled solemnity.

Fuck that was a long sentence.

Now, let’s get to all those new Movie Trailers that you may or may not need to see (unless you can’t see–in which case, don’t go to the movies. You’ll creep people out).

PontypoolThe tag line is “Shut Up or Die.” Which may be good advice for the Zombie genre. We’ll see if this can make the pain of Zombie Strippers go away.

Sherlock HolmesGuy Ritchie doing what he does best; making us all forget how fucking boring England really is.

The Brothers BloomWonderful to see the writer/director of one of my favorite movies tackling such a huge film. If the movie meets the expectations presented by the trailer, I’m going to be wading balls-deep through awesomeness.

GamerIs there no limit to Gerard Butler’s obscenely polymorphous cinematic valiance? All kidding aside, this looks like the single greatest kick-in-the-cunt action movie ever.

Beyond a Reasonable DoubtMichael Douglas seems to be prepping his bad-guy game for the inevitable sequel to Wall Street; but even so, this film doesn’t go far beyond being a “fun afternoon” for a bored housewife who doesn’t feel like cracking a book. She will then proceed to tell her children how wonderful and suspenseful the movie was, but when they see it, they’ll be sure to think it sucks beyond a reasonable doubt.

PreciousOprah and Tyler Perry thought Notorious was unfair and decided to make a movie about a the rise of a morbidly obese girl instead.

9Seems like one of those Tim Burton movies that no one will really like, but if you work at Hot Topic, you’ll kindof have to force it.

NineYes, that’s right. Same title…just spelled out this time. And this one is a sexy musical starring some women you thought were dead, some you wish were dead, and that guy who drinks your milkshake.

Street DreamsI have absolutely no interest in this gritty skateboarding flick…and that’s coming from someone who just reviewed Precious just minutes ago.

Aliens in the AtticUnless this is sequel to Hider in the House, I’m not even going to give it the time of day. No Busey, no Movie!

Baby on BoardTwo points. One, they already made this movie. It was called The Break-Up. Two, if this suckfest stays in theaters for more than 48 hours, I’m going to write an angry letter to the President.

The Girlfriend ExperienceThe big acting debut of porn star Sasha Grey doesn’t look nearly as compelling as it probably should. I picture her doing an artsy flick, but this looks stale and unfinished. I feel like I’m back in art school.

The Ugly TruthRemember what I said about Gerard Butler? His rugged charm sucks you in to a trailer that should, by all Matthew McConaughean means repel the shit out of any serious film nut. Fuck you, Gerard Butler! You make me want to see a romantic comedy that anyone with half-a-fucking-gerbil-brain knows what the ending will be!

Yesterday Was a LieSci-Fi Film Noir should have began and ended with Blade Runner. This unwatchable mockery of classic cinema makes Community College Film Students look like Fritz fucking Lang.

GoobyTry to watch this trailer without laughing. I fucking dare you. This movie looks so appallingly and unfathomably ridiculous that I can’t help but watch it again just to make sure I didn’t make it all up. Warning: Who ever sees this movie has tasted death. What the flying fuck???

Children of InventionI almost certainly won’t see this in theaters…but I’m not sure why. Must be the Asians.

Twistee TreatI’m starting to become disillusioned with Independent Film…I applaud the effort, and I’m unmistakably jealous, but I’m still not going to see your shitty movie.

Whatever WorksLarry David as Woody Allen as Larry David.

$9.99The onslaught of movies with “Nine” in the title is interminable. This film, however, looks beautiful, imaginative, and I almost can’t wait to see it.

District 9I’ll end with another “Nine” movie here. Maybe Hollyweird is on to something with this whole “Nine” thing. This pseudo-documentary looks brilliant. My faith in the future of cinema has been rejuvenated. If there were some omniscient, omnipresent being living amongst the clouds, this would be the time to thank it, sincerely.

And with that, I shall take my leave of you. Don’t be a stranger, and please keep watching good movies. It’s our only defense against Hollywood feeding us another Summer crap-a-thon.

Alex G

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