Leviathan (Castaing-Taylor and Paravel, 2012)
Leviathan is not a narrative film.
Category: Disclosure–AS
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La Source (Shen, 2012)
Everyone thinks they would be more generous if they had just a little more.
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The Law in These Parts (Alexandrowicz 2011)
What is the difference been "occupied" and "held" territories?
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The Dark Knight Rises (Nolan, 2012)
As I've acknowledged elsewhere, the Batman of this series of films is not the same character/hero I grew up with, and that complicates my reactions, making it harder (though, I hope, not impossible) to separate my disappointment from my judgment. That's not all of it, though, or I should have liked Rises more than The Dark Knight, and I'm not sure I did (even if I did judge it a better film).
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Brave (Chapman, Andrews, and Purcell 2012)
Payoff there is, but I found my own emotions at the conclusion somewhat muted by the fact that--and there's just no easy way to put this--I preferred the pre-chastened heroine to the one who had learned her lesson at the end.
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Rock of Ages (Shankman, 2012)
The most surprising thing about Rock of Ages is that I was prepared to like it.
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Prometheus (Scott, 2012)
Prometheus's biggest problem is not a lack of ambition, but of execution. The film is at no loss for ideas, but it can't really pause to catch its breath long enough to develop any of them.
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U.N. Me (Horowitz and Goff, 2009)
U.N. Me describes scandal after scandal with a relentless dullness and surprisingly glib attitude.
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The Best Exotic Marigold Hotel (Madden, 2011)
I've often said I would pay to watch Tom Wilkinson or Judi Dench read the phone book. I'm just not sure how I feel about watching them remake The Breakfast Club.
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Blue Like Jazz and other Podcasts
I have been busy podcasting over at Film Geek Radio. New episodes include discussions with Todd C. Truffin about Blue Like Jazz, Primary Colors, and Love Free or Die.