Alfonso Gomez-Rejon

Sundance 2015: ‘Me & Earl & the Dying Girl’ an emotional, honest and hilarious experience

Alfonso Gomez-Rejon’s Me & Earl & the Dying Girl is a film that has perhaps garnered the most hype this year at Sundance, and you should believe every word of it. By the end of the screening, there was hardly a dry eye in the entire theater. Following a teenage outsider, Greg (Thomas Mann), who makes cheap and funny remakes of classic films with his friend Earl (RJ Cyler), as he befriends a classmate, Rachel (Olivia Cooke), who has just developed leukemia. With a logline like that, it’s hard to not understand where all the tears are coming from. It sometimes feels cheap for filmmakers to use cancer as a way to garner emotion from the audience, but trust that when the tears do come, every single one has been earned.


Fantastic Fest 2014: ‘The Town That Dreaded Sundown’ is a dreadfully uninspired slasher film

The Cabin in the Woods was the final frontier for slasher films… or at least it should have been. Drew Goddard and Joss Whedon’s 2011 horror-comedy took all of the subgenre’s tropes and turned them on their head. It acknowledged every character stereotype and rejected each one. The slasher film received a complete deconstruction, and now it may be best to simply pack it away. Sadly, The Town That Dreaded Sundown heralds an uninspired return to form. It just may be the blandest movie to feature violent homicide and ruthless killers.

Red Band Society, Ep. 1.01, “Pilot” has heart but lacks depth

Red Band Society began as a remake of Catalan television series called Polseres Vermelles, which is about a terminally ill group of mismatched teens that live in a pediatric ward and band together as friends. The series was picked up by Amblin Entertainment, who then developed it for American television with former Boardwalk Empire writer Margaret Nagle. As a child, Nagle had spent some time living in a pediatric ward alongside her comatose brother, which she has cited as the source of her inspiration when writing the treatment of the source material.

American Horror Story, Ep. 3.13: “The Seven Wonders” ends the season on a witching high

It wasn’t a big surprise that Stevie Nicks would kick off the final episode of American Horror Story: Coven, since Ryan Murphy had reported that the White Witch would appear in two episodes this season. The images of Nicks spinning through Miss Robichaux’s Academy while lip-syncing to her Fleetwood Mac hit “Seven Wonders”, left me realizing something important: Coven may be the weakest of American Horror Story’s first three seasons, but this season boasts the best cast – and I’m actually going to miss most of Coven’s characters. With Douglas Petrie helming the script and Alfonso Gomez-Rejon directing, tonight’s episode, appropriately titled “The Seven Wonders”, is a strong finish to an uneven but always entertaining season. The reveal of the next Supreme comes not without a price, as some witches die this time around, and never to return.

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