Imagine a bad horror film crafted by excellent filmmakers, tech savvy set designers on a budget and one handsome hero with a handful of cheesy one liners that’s sure to make any woman’s heart melt, dead or alive. That’s what you get with Sam Raimi’s 1981 and 1986 cult hit The Evil Dead.
Soderbergh continues his heist film saga by de-glamorizing Oceans 11 with full scale southern makeover with all the same entertainment value.
Hearts can officially break for computerized protagonists as we cheer for the triumphant conclusion that is War for the Planet of the Apes.
Thank goodness for Edgar Wright. After penning one of the more interesting and enjoyable MCU films (Ant-Man), Wright is back from his four year directorial hiatus to give us Baby Driver- a high octane satire on heist films with a killer soundtrack.
Upon sitting down at an attempt to enjoy the sequel to a prequel of a beloved classic, my popcorn and I were ready to be whisked away with (at the very least) some form of entertainment. As the horrors unfolded both on the screen and script, I found myself once again wrestling with this question: Is it worth it?
When time is literally money, heroes arise from the most unlikely place.
Stanley Kubrick and Christianity are hardly synonymous. Why would I choose one of his films for my first review? The answer is within the film itself.