Neither a chain of spice stores nor a Food Network program, The Seasoning House is a bleak-as-nuclear-winter thriller set during the Balkan conflict of the 1990s. A deaf girl named Angel (Brit teen Rosie Day) is taken from her home by soldiers who shoot her mother dead.
Paul Schrader’s The Canyons opens and closes with a montage of abandoned movie theaters. For this film in particular, that choice strikes one as symbolic in several ways: not only as a comment on the state of the industry, but on the state of The Canyons itself. You’re unlikely to find many 2013 films this empty.
What's a director of classic musicals doing in science fiction? Making Saturn 3, one of the worst of the genre Hollywood made in the immediate post-Star Wars / Alien era. Stanley Donen (Singin' in the Rain) takes to it about as well as you'd expect; he's in over his head.
Military marksman Col. Jim McQuade (Gregory Hines, Running Scared) is called into top-secret duty to neutralize a surveillance robot gone haywire in San Francisco. It won't be easy, because for one thing, the android is undetectable from a human. For another, it has a built-in nuclear bomb that will detonate upon imminent threat.
I plead guilty: My friends and I have goofed around with a camcorder before and made stupid movies, but we were smart enough to know that no one outside ourselves would think they were funny. If only the makers of Caesar and Otto's Deadly Xmas realized the same.
With the blogosphere erupting over the Kanye West/Jay-Z joint (do we call them “albums” anymore?), Kid Cudi couldn’t have picked a worse time to release his video for “No One Believes Me.”
Actually, it’s not his fault: It’s the “official” music vid for DreamWorks’ remake of “Fright Night,” which opens Friday. I’m under one of those dreaded review embargoes, so I can’t tell you until Friday whether I think the Colin Farrell/Anton Yelchin starrer falls short of the 1985 horror-comedy classic; or whether I think its 3-D effects are needless; or whether I think Imogen Poots (despite her flatulent name) is way, way, way hotter than Amanda Bearse.
In the meantime, Kid Cudi! As with the film, the lushly orchestrated clip is directed by Craig Gillespie (“Lars and the Real Girl”) and looks to take place on the same set. Its dark tone is right in line with the picture, and it’s nice to see what it essentially “just” a tie-in have merit on its own. —Rod Lott