I saw Star Wars: The Rise of Skywalker on opening night, and I doubt I could’ve been less excited for it. So much venom had been spewed at the Star Wars brand by this point, so even mentioning the name of certain chapters came at the risk of actually losing friendships. What’s more, its release signaled the start of what all of my work supervisors assured me would be the most hectic few weeks in our theater’s short history — now, of course, I would practically kill for those days — and my sense of dread was simply too powerful to ignore.
Eight complete strangers sectioned off into four curiously matched pairs awaken in various rooms of an unfamiliar suburban house. None of them can recall how they may have gotten there, nor is there any apparent method of exit. For the foreseeable future, they’re trapped, and none of them are alone. So describes the events of The Doors Between Us, a micro-indie film produced in Lakewood, Colorado, which held its one-night-only premiere on a single, exciting evening back in December.
The time has come yet again for you, our most loyal and dedicated of listeners, to do the hardest part of our job for us by deciding which film to delve into on the next Extra Milestone! February yielded a fascinating and varied selection, and it was hard enough to narrow it down to a measly seven. But now is the time to select the ultimate winner. You may choose from the following:
Vote For Our Next Extra Milestone: His Girl Friday, The Shop Around the Corner, Tremors, Before Sunrise (And More!)
Here on Cinemaholics, we don’t just stop with current realms of cinema. Once a month, we take a trip back in time to look at a film that has gone the extra mile to remain relevant all these years later. But selecting that film isn’t always easy! Welcome to this month’s Extra Milestone Poll, in which YOU get to decide what we break down on our next episode.
The Skywalker Saga as we know it has been over for the better part of a month now, so Jon and I decided that it would be a fun idea to go over the 42-year-old (and counting!) history of the Star Wars Galaxy. The two of us spent nearly three hours presenting our carefully constructed individual rankings of the films (ALL of them), making plenty of stops along the way to justify our varied positions.
It might be several weeks late, but July’s EXTRA MILESTONE is here! With Jon away on vacation, Will Ashton and Sam Noland decided to tackle not one, but two notable classics celebrating anniversaries. First up is Dennis Hopper’s Easy Rider, the counterculture classic celebrating its 50th anniversary, followed by Spike Lee’s Do the Right Thing, the eternally relevant commentary on racial tensions celebrating its 30th anniversary.
2019 marks the 50th anniversary of the infamous Manson Murders — a tragic chain of senseless killings irreparably changing the world forever, and once broadly referred to by Don McLean as one of “the days the music died.” As is true with just about any point in time of this historical caliber, these events have been dramatized in various ways via the cinematic medium. With three films on the subject being distributed this year alone, I decided the time was right to witness and rank each and every one of them that I could get my hands on.
The time has come yet again for a new release to be completely steamrolled at the box office by an installment of the Marvel Cinematic Universe — and shamefully so, if you ask me. The unfortunate and doomed film comes this time in the form of A24’s Midsommar, a folk mystery/thriller from Hereditary director Ari Aster, which just so happens to be one of the best movies of the year.
This past weekend saw the release of Danny Boyle’s Yesterday, a high-concept dram-com with a hint of romance in which an unprecedented global anomaly erases The Beatles (among other cultural bullet points) from history. The Fab Four are allowed to live on, however, in the baffled memory of struggling musician Jack (Himesh Patel), the only one with any understanding of what’s happened.
The seventh film in the Conjuring series and the third to focus on the now-famous Annabelle doll comes to us from first-time director Gary Dauberman, who previously wrote the first two Annabelle films and co-wrote The Nun, as well as the latest adaptation of Stephen King’s It.
When it came to selecting the Movie of the Week, there was no clearer choice than George A. Romero’s inimitable classic Night of the Living Dead, especially with the recent release of Jim Jarmusch’s zombie comedy The Dead Don’t Die, which was heavily inspired by the 1968 film. Night of the Living Dead wasn’t the first film to feature the undead, but it is widely considered to be the definitive introduction for mainstream audiences. The mythology it established all those years ago continues to be the standard for almost every other zombie movie, TV show, or other medium in the genre to come out since.
It’s been two weeks since the release of Michael Dougherty’s long-awaited sequel Godzilla: King of the Monsters, which hit theaters to a mixed critical reaction and moderate financial success. It hasn’t received the widespread enthusiasm Legendary and Warner Bros. were likely hoping for, but the film does contribute to the now 65-year old legacy of the world’s favorite giant monster in more ways than one.
Over the past 65 years, there have been 35 films featuring Godzilla (or 38 if you’re being technical), a super-powered reptilian giant and titan of the ancient world, born against his will from the complicit ashes of mankind’s mistakes. He’s a rightful god among monsters and humans alike, and such is the case in this latest outing of the world’s favorite monster, in which there might be some serious competition for the title of “King.”
John Ronald Reuel (J.R.R.) Tolkien, author of such high fantasy novels as The Hobbit and the Lord of the Rings trilogy, was recently the subject of Dome Karukoski’s Tolkien, a new biopic about the prolific author produced by Fox Searchlight Pictures and released through Disney last weekend.
For reasons that may be obvious, critically analyzing a film intended for children can be a difficult task. There’s a prevailing notion that kids, due to their general lack of experience, have very low standards and will eat up whatever colorful media they’re given. There may certainly be some truth to that sentiment, given that children and adults consume art very differently, but one of our responsibilities as critics is to thoroughly clarify how disparate age groups might react to a film, especially one made for kids to enjoy.
‘The Curse of La Llorona’ Review – The Latest ‘Conjuring’ Feature is Only Superficially Supernatural
The Curse of La Llorona is the sixth film in the ongoing Conjuring series. Released through Warner Bros. and New Line Cinema, the film is helmed by first-time director Michael Chaves (the director of next year’s The Conjuring 3), written by Mikki Daughtry & Tobias Iaconis, and stars Linda Cardellini, Raymond Cruz, and Patricia Velásquez. The story is based on the Mexican folklore of La Llorona, also known as The Weeping Woman, and follows Anna (Cardellini), a widowed mother of two in 1970s Los Angeles, who must protect her children from the supernatural entity in question (Marisol Ramirez).
Slut in a Good Way is directed by French-Canadian actress Sophie Lorain and stars Marguerite Bouchard, Romane Denis, and Rose Adam as Charlotte, Mégane, and Aube respectively, a trio of teenage girls who are hired to work part-time at a toy store during the winter holidays. Over the course of the season, they each engage in various romantic and sexual exploits with their coworkers and are suddenly forced to reckon with the frustrations and uncertainties that arise when it comes to adult relationships.
It’s been some time since I’ve been completely and utterly transfixed by a film. It happened quite often back when I started to really dive into cinema; it was only 2015, but it seems like a thousand years ago, and I remember everything I watched seeming so unique and tantalizing at the time. Naturally, the frequency of this sensation started to die out as my knowledge grew, and it slowly began to take a lot more for a movie to truly knock my socks off.
Originating from the German Expressionist movement of the early 20th century, film noir is a corner of cinema often reduced to a shallow microcosm of its time period. It’s a genre that has been worked in ever since the 1930s, but the most common association with noir is made to the stylish, studio-mandated crime dramas of the 1940s. Production-code-overseen stories of bitter detectives, steely romantic interests, and Tommy Gun-toting gangsters punctuating every sentence with “See?” are typically conjured up when thinking of the prototypical noir story, but there’s a distinct tonal influence hovering over these films, setting them apart from other thrillers. This is the compelling narrative underpinning the Criterion Channel’s choice for our 8th Movie of the Week.
It’s been half a century since the significant culminating events of the Space Race, and the film landscape is making good on celebrating this milestone. 2018 saw several high-profile releases for Stanley Kubrick’s 2001: A Space Odyssey, plus there was the debut of First Man, Damien Chazelle’s fantastic Neil Armstrong biopic. And even more recently, there was the 2019 IMAX release of Apollo 11, Todd Douglas Miller’s fascinating documentary. Not to be outdone, the Criterion Collection recently offered the acclaimed documentary For All Mankind to early subscribers of their approaching streaming service.
Captive State has a lot going for it: a talented cast and crew, a solid visual and narrative aesthetic, and an interesting premise rife with potential to explore the faith we bestow upon our leaders. It deeply saddens me, then, to report that the film misses nearly every opportunity to create something meaningful, original, or memorable. It fails to deliver on any of the promises it makes from the outset and winds up feeling like a wholly unrewarding chore to watch.
The Criterion Collection is often revered (rightfully so) for bringing well-deserved attention to the more obscure, lesser-known corners of cinema history. They have highlighted great films that — whether due to poor accessibility or popularity — have been largely forgotten, and those interested enough to take advantage of the opportunity are typically better off as a result. Their sixth movie of the week, available exclusively to charter subscribers of The Criterion Channel, is a prime example of their knack for worthwhile curation and restoration, and it also serves as an exciting sneak peek into a title not yet released on physical media.
For their fifth Movie of the Week, the Criterion Channel has decided to highlight Charles Burnett’s career with his third feature film, To Sleep with Anger, released on October 12, 1990. The familial drama tells the story of Harry (Danny Glover), a mysterious drifter from the Deep South who takes up a temporary residence in the home of an old acquaintance named Gideon (Paul Butler) and his wife Suzie (Mary Alice), as well as their extended family.
For their fourth Movie of the Week, Criterion Channel has wisely decided to highlight Andrei Tarkovsky, one of the greatest filmmakers of all time. Any one of Tarkovsky’s seven feature-length films released between 1962 and 1986 would make for an excellent showcase of his talent, but it’s only natural that the final choice would be what is perhaps his most talked about film: Stalker. Released in Russia during the spring of 1979 (and a few years later in the U.S.), the film has become a favorite among cinephiles, as well as an undoubtable influence on sci-fi and arthouse fans alike.
Directed by Joe Penna and released by Bleecker Street, Arctic tells the story of a man (Mads Mikkelsen) stranded in the North Pole following a plane crash, where living off of a meager diet of snow and small fish, frivolously broadcasting a poor radio signal, and endlessly awaiting rescue are the only ways to pass the […]
Following the tragic termination of Filmstruck, the thoughtfully curated and programmed streaming service, Criterion triumphantly assured distraught fans that they would be independently forming a service of their own. They have a built-in audience by now, and the notion of a service specifically aimed at hardcore cinephiles is thrilling (and necessary) to critics, scholars, film […]