Wednesday 23 Jul
 
 

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05/06/2014 | Comments 0

Sorcerer

William Friedkin spends a lot of time in his 2013 memoir discussing why Sorcerer didn't click with critics and audiences even though he believes it to be better than his previous film, The Exorcist. Now that Warner Home Video has reissued Sorcerer on Blu-ray, we can see what Friedkin's fuss is all about.
04/23/2014 | Comments 0

Broadchurch: The Complete First Season

Welcome to the coastal resort of Broadchurch, population … oh, who can keep track, what will all the corpses? Yes, Broadchurch is yet another British television procedural involving the search for a murderer in a quaint little town, just like the limited series The Fall and Top of the Lake.
04/23/2014 | Comments 0

Paranormal Activity: The Marked Ones

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04/23/2014 | Comments 0

Holy Ghost People

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Action
 

Drive


Rod Lott September 14th, 2011

To race right to the finish line, as it were, “Drive” is — so far — the year’s best film and a new crime classic.

From the pink, cursive typeface and pulsing, instrumental music of the opening credits, audience members will feel as if something is out of place, as if the movie is just a bit “off.” That’s because director Nicolas Winding Refn (“Bronson”) has immersed this tale in the style of Michael Mann’s “Thief,” rather than today’s “Transporter” series. The thrills come not in short, orgasmic bursts à la “Fast Five,” but slow, sustained tension, strung piano wire-tight.


It’s the year’s best film and a new crime classic.

Opening Friday, “Drive” is more exciting and engrossing than any of them. Hollywood stunt double by day, the unnamed protagonist (Ryan Gosling, “Crazy, Stupid, Love.”) is a hired wheelman by night. With no questions asked, he’ll be your getaway car driver, waiting outside for five full minutes, no matter what happens. One way or another, he lives his life through a windshield, and it’s not until his miserable personal life starts showing promise that his professional one grows potentially fatal. Worse, the two inevitably intersect.

The Cannes Film Festival doesn’t give out its Best Director award to just old Italian guys whose films play like bleak metaphors, and Refn hammers this one with pinpoint perfection as sharp as Gosling’s ever-present toothpick. There’s far more to this excellent story than its trailer hints at — namely, projecting genuine menace. The scorpion adorning the back of Gosling’s jacket isn’t for show; the guy speaks little, but says so much when violence erupts.

And that it does. If you can take it, by God, see it!

 
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