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by Bill Gibron

15 Sep 2014


W.C. Fields said it best: “Never work with children or animals.” The legendary comedian, who built his entire commercial reputation on a cranky, curmudgeon persona doused generously in various inebriations, understood implicitly that, once you bring a kid or a critter into the mix, you’re no longer the center of attention. Instead, our worship of youth and nature surpasses any desire to pay attention to an adult, or more mature subject matter.

Brats and beasts are scene stealers, and this is clearly the driving force behind the family film Dolphin Tale 2. Granted, this obvious sequel was spurred on by the success of the original 2011 effort, getting a great deal out mileage (and wholesome entertainment) out of Fields’ admonishments. The movie’s desire to confront the darker aspects of the story’s situation makes it more than just another cynical cash grab.

by Bill Gibron

8 Sep 2014


Can a serious movie be made about a May/December romance where one party is in his late ‘40s and the other is only 15? Can the “he”, a former dashing matinee idol (Errol Flynn) who already escaped one accusation of statutory rape really be seen as sympathetic, or even socially acceptable, given his proclivities? Can the “she”, a teenager of suspect talents (Beverly Aadland) be anything other than a victim?

No matter the times or the temperament, no matter a mother who basically pimps her child out for a possibility at fame (and the accompanying fortune) or the studio system and media, which sheepishly look the other way, can a film like this work? The answer, once you’ve seen The Last of Robin Hood, is “No.”

by Bill Gibron

5 Sep 2014


A professional Elvis impersonator teams up with a Pro-Israel propaganda coalition. Together with a wannabe songwriter and his wannabe director son, they create an alternate reality where rock ‘n’ roll was “created” by someone named Drexel Hemsley, the once and could be King. And just like the legitimate legend, this swivel hipped singer has a twin brother, except this one didn’t die at birth.

by Bill Gibron

22 Aug 2014


They say you can’t capture lightning in a bottle, that a once novel paired with a fresh concept can’t be reused to the same stunning effect a second time around. This is the main critique of sequels, in fact. Whatever made the original hit movie a cultural phenomenon cannot be rediscovered and maintained over a follow-up (or franchise).

So when Robert Rodriguez and Frank Miller decided to wait nine long years to revisit their visionary Sin City, many wondered if the near-decade away from their pioneering digital neo-noir would result in something dull and derivative. The answer, luckily, is “No!” Is it as good as the first groundbreaking film? Well…

by Bill Gibron

22 Aug 2014


Success in one medium doesn’t guarantee success in another. Great actors often struggle when they try to be musicians, while gifted artists aren’t quiet as aesthetically pleasing when attempting to perform. There’s even inner-format faults as well. An award winning TV scribe usually can translate their talent to the big screen.

They are the rarities, however. Typically, greatness in one place doesn’t translate across. Such is the case with Mad Men‘s Matthew Weiner’s so-called “comedy” Are You Here. Instead of showing the same sharp sensibility that made said AMC hit, we get a decidedly lifeless laugher.

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