Call for Music Writers... Rock, Indie, Urban, Electronic, Americana, Metal, World and More

 
Bookmark and Share
Text:AAA
Friday, Aug 22, 2014
Is two-thirds of a decent Sin City sequel enough? After nine years of waiting, almost.

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…


Bookmark and Share
Text:AAA
Friday, Aug 22, 2014
This is a horribly unfunny comedy by someone celebrated for reinventing the TV drama.

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.


Bookmark and Share
Text:AAA
Tuesday, Aug 19, 2014
Steve Coogan and Rob Brydon are reinvesting the so-called buddy comedy with the concept that, sometimes, friendship is not enough.

It seems like the best of all worlds: getting to travel, professionally, staying at some of the most scenic and inviting destinations along the Italian Riviera. Better still, you get to sample gourmet cuisine every step of the way, from entrees rich in Mediterranean tradition to piles of freshly caught and prepared seafood. The weather is magnificent, the populace beyond friendly, and the views awe-inspiring.


The only problem? You’re saddled with someone as a traveling companion whose a rival at best, a friend in frustrating terms only, and since you’re pushing 50, that so-called “midlife crisis” has turned into nothing more than mere angry aging.


Bookmark and Share
Text:AAA
Monday, Aug 18, 2014
If Cook and Burgess are setting us up for a continuing series of mutant monster superhero takedowns, this movie is a decent start.

Splatter is often the sad step-child of horror. When done correctly, or within context, it’s beloved if bloody. Very bloody. It can even be used to bring a bit of humor into your otherwise aggressive arterial spray (isn’t that right, Sam Raimi and Lloyd Kaufman?). Septic Man falls into the former category, taking a surprisingly serious tone over something that should be salacious and scatological.


Indeed, the movie revolves around a sanitation worker who gets trapped in a toxic underground sewer and suddenly transforms into a hideous combination of feces and filth. There’s also a subtext of possible pandemic, maybe-imaginary creatures, good vs. evil, hero vs. villain, and perhaps the most idealized view of virulence ever put on film.


Bookmark and Share
Text:AAA
Friday, Aug 15, 2014
What The Expendables 3 lacks is the kind of exuberant pizzazz which made these particular performers ripe for rediscovery in the first place.

By now it should be abundantly clear that Sylvester Stallone “gets” action. He understands the dynamic involved in a major league blowout stunt spectacle. He’s a wizard when it comes to staging, acts each carefully choreographed beat with the necessary amount of machismo and, when given the opportunity (and the MPAA rating) is not shy to showcase enough splatter to make a million gorehounds happy.


Granted, for this third installment in the exceedingly goofy Expendables franchise, Sly isn’t sitting behind the lens. His handpicked protégé, in this case, Red Hill director Patrick Hughes, is, however, and the results constantly remind the viewer of the iconic ‘80s b-pictures that made the cast nostalgia laced currency. While not fully invested in the direct to video past, there’s enough low rent ridiculousness here to make even the most cynical action fan smile.


Now on PopMatters
PM Picks
Announcements

© 1999-2014 PopMatters.com. All rights reserved.
PopMatters.com™ and PopMatters™ are trademarks
of PopMatters Media, Inc.

PopMatters is wholly independently owned and operated.