Independent filmmaker Anthony Spadaccini always had a keen visual eye, leaving no stone left unturned. You can tell by watching his films that he takes great pride in every shot and every camera angle. His films are an emotional experience, but even more than that, they are a visual experience to remember. You feel as though you are entering another dimension or another universe. You are a little uncomfortable, scared, and unsure, yet you can’t look away and you can’t wait to see what unfolds next. It grabs the viewer right from the get go and doesn’t let go.
Head Cases: Serial Killers in the Delaware Valley (2013)
Independent filmmaker Anthony Spadaccini always had a keen visual eye, leaving no stone left unturned. You can tell by watching his films that he takes great pride in every shot and every camera angle. His films are an emotional experience, but even more than that, they are a visual experience to remember. You feel as though you are entering another dimension or another universe. You are a little uncomfortable, scared, and unsure, yet you can’t look away and you can’t wait to see what unfolds next. It grabs the viewer right from the get go and doesn’t let go.
Dr. Strangelove Or How I Learned to Stop Worrying and Love the Bomb (1964)
There’s nothing funny about nuclear war. Unless you’re Stanley Kubrick, Peter Sellers, and George C. Scott and then, okay, it’s hysterical. Director Stanley Kubrick opts this time for a darkly satirical and often menacing film about American politics and what happens when the wrong orders are put out that will eventually bring the world to its knees. When America’s officials retreat to “The War Room” to sort out this nagging problem, Buck Turgidson and President Merkin Muffley attempt to find a course of action that will please all parties.
Carrie (2013)
If there’s anything I can say about the remake of “Carrie” is that it’s at least better than the 2002 version. It’s more focused and sleeker. I remember reading on many articles that director Kimberly Pierce was planning to deliver a new and dynamic version of Stephen King’s “Carrie” that differed greatly from Brian DePalma’s iconic horror masterpiece. I’d love to know what happened during the entire development of this film because watching it, all I saw were callbacks to the original DePalma movie. Surely, there’s the addition of the internet and a small riff on cyber bullying but it’s really just a riff on DePalma’s film.
Harvey (1950)
“Harvey” is another one of those non-conformists dramedies that asks what the harms is in being a little different. In a time where normality and conservative thinking were a standard, and psychology was still a new aspect of society, “Harvey” is yet another wonderful tale about a unique individual who changes the lives of everyone around him. That’s all thanks to the small ounce of magic he brings to people that have convinced themselves they’re normal, but really aren’t. While “Harvey” fancies itself as a dramedy, it’s first and foremost a light hearted romp through fantasy and imagination, and will often inspire raucous laughter from viewers.
Hot Times at Montclair High (1989)
If you’re going to try and mimic one of the most successful teen comedies of the eighties, at least have the budget to back it up. “Hot Times at Montclair High” is one of the lamest rip off of “Fast Times” I’ve ever seen. It’s one of those films that takes every chance to copy from the previous film, except it fails to deliver what made the film such a success. Like great writing, engaging characters, comedy, and a truly interesting series of narratives and sub-plots.
Lone Survivor (2013)
Director Peter Berg is really a fan of his ‘rah rah America’ films. Whether it’s about football, alien spaceships taking on American military, or accounts of an actual military operation, he’s a man who loves his patriotic dramas. It’s not to discount that what happened in “Lone Survivor” was without its heroism, but “Lone Survivor” is in the end a mediocre military drama and just a sub-par human drama, that fails to focus on the human aspect of its story. I’m not opposed to films about patriotism or celebrating the armed forced, but the soldiers at the core of the dilemma that ensues lack that humanistic aspect that could inspire us to really root or empathize with them.