Pour into me that weary gentle sadness, that hard earned tenderness, that Zen-Cowboy koan that there is no you, me, us, them, there's just people, everyone, together, on this stretch of land. The power of taking life is illusory, the wielding of it without thought or understanding the ultimate destructive force. Life is here, around the campfire, as an old man squeezes a concertina and a smiling child toddles to its mother with a hand-carved whistle. The world is in…
Faces on the stage. Voices in the firelight. There's something incredibly elemental about pure dialog, something that reaches back deep into human history and connects with us when we were hominids huddled round a campfire for warmth, how certain phonemes in a certain order could set the mind and imagination racing. There's a reason that, after hundreds of years in the history of the moving picture, the simplicity of two people speaking to each other still has the power to…
I can see why this has developed a cult following; it's not particularly good but it layers itself adroitly enough to be generally pleasing. It's a panoply of shopworn parts that have been spit-shined, filed down, and interlocked like one of those metal shape time-wasters you used to find in gift-shops.
Its an interesting assemblage when zoomed out, but like one of those twisted nail puzzles overly obvious once you learn the trick of it. At a brisk 80 minutes, however, it feels weird to complain that it's *only* a bare-bones horror anthology. I just wished it was a little more chewy and less surface level.
Tremors has become a surprise favorite for both my fiancée and I, a truly A-Grade B-Movie that delights and thrills in equal measure. Having also some positive memories of watching the sequel, I sat down with her to watch it with mild hope but lowered expectations given the downward trajectory of the series.
It's as much of a mixed bag as I ! Paring Fred Ward's Earl with an even dumber guy in Chris Garten's Grady (who's "man with one…
70 MM screening at the Grand Lake in Oakland, and a packed showing for a Thursday night. This thing is going to kill at the BO for a while, huh?
Awesome! So much incredible stuff packed into a rough'n'tumble genre crowd-pleaser. I think the pacing suffers a bit for juggling so many threads at once (This is the first film I've seen that saves a whole-ass end scene for a Marvel-style mid-credits reveal), but like The Boy and the Heron…
