The Ultimate Life (Landon, Jr., 2013)
When we stop asking our films to save the lost while entertaining the justified and just let them do one or the other, I expect we'll all be a lot happier.
Category: Disclosure–AS
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You’re Next (Wingard, 2013)
Making a horror movie must be a little like writing a sonnet. The form is so familiar that even non-fans have been exposed to a lot of them. The (relative) simplicity of the form in conjunction with that exposure makes it attractive to creators: I can do that! It also makes it a challenge for creators and consumers alike: We've seen that!
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Iceberg Slim: Portrait of a Pimp (Hinojosa, 2012)
I did not intentionally watch Iceberg Slim on the week in which a man of one color would be found not guilty of murdering a teenager of another color, sparking another of the seemingly endless waves of grating, chattering babble about race in this country. I'm glad I did, though, because it was a reminder (if I needed one), that nothing is as subjective in this world as what people of different backgrounds consider "normal."
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Terms and Conditions May Apply (Hoback, 2013)
I haven't been this depressed after a movie since An Inconvenient Truth.
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Some Girl(s) — (von Scherler Mayer, 2013)
An oddly engaging but ultimately unsatisfying endeavor, Some Girl(s) is best described as a cross between Nick Hornby's High Fidelity and David Mamet's Oleanna.
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Free China: The Courage to Believe (Perlman, 2011)
One of the more unfortunate side-effects of the polarization and politicization of American discourse is that we've seriously devalued the word "persecution."
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What Maisie Knew (McGehee and Siegel, 2013)
Kids see, hear, and understand as much as we fear and more than we let ourselves admit.
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Iron Man 3 (Black, 2013)
The strange thing, the downright bizarre thing, about this quest is that Marvel Studios and Paramount Pictures have wagered a lot of money on the proposition (if the film itself is any indication) that the audience won't care in the least whether superhero movies have stupid, artsy contrivances like themes
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Pain & Gain (Bay, 2013)
"Is it just me, or is Michael Bay giving a deliberate middle finger to the Coen Brothers?"
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Oblivion (Kosinski, 2013)
Oblivion may be one of those films that is easier to mock than to dislike. It is certainly easier to criticize than to not enjoy.