You know a movie fails to hold your attention when you’re spending more time marveling at the setting of the film than the film itself. I really should move to New Hampshire, it looks like a beautiful place to live in. And there is no shortage of scenes depicting suburbs and town halls that look incredible when filmed. In either case, “Don’t Let the Riverbeast Get You!” is a giant missed opportunity of a horror comedy that seems to have tacked on the monster called the Riverbeast in to a dramedy about a tutor, and a woman he’s trying to impress. I was never sure on the specifics of the story, since it’s a pretty tedious movie.
Tag Archives: Drama
God’s Not Dead (2014)
One thing you have to admire at least about “God’s Not Dead,” is that it wears its propaganda on its sleeve. Being Christian is depicted as noble and courageous, while the more pragmatic and atheist characters are subtly referred to as snakes, and tyrants. Kevin Sorbo (intent on alienating his remaining fans, apparently) plays the evil philosophy Professor Radisson who is up to no good, mainly because he dons a goatee, and asks his class to consider the idea of the lack of an existence in a God. Which is a shocking notion considering his class is peppered with a few absolutely devout Christians.
Veronica Mars (2014) [Blu-Ray]
While “Veronica Mars” didn’t exactly set the world on fire, it’s definitely a return to form for the cast and crew behind the cult series, revived by the loyal fanbase and Kickstarter. Creator Rob Thomas sets the series right in the place he left off, providing a much wanted return to the universe where Veronica Mars is still a pariah and still always five steps ahead of everyone in her life. The best fans could have hoped for was that “Veronica Mars” felt like one big finale, and lo and behold, it succeeds two fold. I won’t pretend “Veronica Mars” is a spectacular thriller, but it’s a simple and entertaining closer to a series that deserved a decent send off.
Proxy (2014)
It’s a long road to go before “Proxy” ever really gets to the point of the entire narrative, and though director Zack Parker is very good at handling multiple sub-plots, “Proxy” is almost too crowded with them. “Proxy” is a seemingly simple thriller that over complicates itself with twists and turns that don’t really amount to much. It’s not many horror movies that revolve around the very disturbing psychological condition Parker highlights as a means of moving the narrative ahead, but “Proxy” often feels like it’s just jumping from shocking moment to shocking moment without much cogency or complexity. None of the characters are likable or empathetic, thus much of the movie feels cold and listless.
Girls Against Boys (2012)
Director Austin Chick’s “Girls Against Boys” is not just a polemic about the crime of rape and gender inequality, but is never afraid to depict men as anything but horny monsters that prey on women, when they’re not degrading them. Never has a movie been so hell bent on making men feel bad about their danglers. “Girls Against Boys” is a typical rape revenge movie, that’s also a mopey, whiny, and very homophobic thriller that can never seem to decide if it’s exploitation or melodrama. Sometimes it’s “Thelma and Louise,” sometimes it’s “I Spit on Your Grave,” and sometimes it’s “Ms. 45.” And never remotely as good as the aforementioned titles.
Blue Ruin (2014)
“An eye for an eye only ends up making the whole world blind.”
When we meet Dwight, he’s already defeated. He has a beard and long hair, he’s homeless, he digs through trash behind a carnival for dinner, he sneaks in to people’s houses for baths when they’re out for the day, and he sleeps in his old shelled out car on the side of the beach. One night Dwight is picked up by the police, and informed that the man that ruined his life is being released from jail after a court acquitted him. And now Dwight has made a decision that will decide the rest of his life. Director Jeremy Saulnier’s “Blue Ruin” is one of the least glamorous revenge films ever made. It’s an ingenious and brilliant look at the actual repercussions of vengeance and how it can create a ripple of unintentional consequences and violence that eventually spirals out of control.
The 400 Blows (1959)
Director Francois Truffaut’s picture about a young boy with absolutely no direction in his life is one of compelling storytelling topped by incredible filmmaking. Truffaut explores the aimlessness and joy of youth, as well as the ticking hands of time that accompany youth as our protagonist Antoine Doinel realizes all too early he’s becoming a man, and the innocence he’s savored for so long is doomed to come to a bitter end, very soon. Hence the haunting and enigmatic closing scene where he scampers on to the beach, one of his favorite locations in the world, and looks out on to what almost feels like a blank slate.






