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    ‘Trainwreck’ is a fantastic film debut for Amy Schumer

    Amy Schumer already cemented her place on my year’s favorite entertainment list when she managed to loosely remake 12 Angry Men for the fourth episode of Inside Amy Schumer, but not satisfied with owning television, Schumer decides to revive the romantic comedy for 2015. Lazy writing has cursed the genre for much of the last few decades and studios have responded in kind by not pursuing that market with the gusto they used to. More

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    New Projects: Shaft, Edison, Catan, and Tom Ford

    New Projects is a weekly round up of movies and TV shows recently announced and currently in development for the near future.  Who’s that bad remake? (Shut your mouth!) New Line Cinema has reportedly acquired the rights to the Shaft franchise and intends to remake the ’70s blaxploitation classic yet again, following the 2000 remake […] More

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    ‘The Zero Theorem’ sees Terry Gilliam in his comfort zone, for worse rather than better

    Rather than the political surveillance looked at in Brazil, corporate surveillance is the primary focus, though the film’s weak digs at both that and the impersonal nature of our online modern age lack any of the bite of the earlier film. Exploration of the latter idea certainly isn’t helped by the writing of Bainsley, a character lacking in any agency of her own. Thierry is victim to an uncomfortable amount of fetishistic objectification, present even outside of the few scenes in which it contextually makes a little sense. Kim Griest’s well-rounded, independent heroine is just one of the ways in which Brazil still has punch today as a key science fiction work; The Zero Theorem, an effort that never excels, is a light shove at best. More

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    Fantasia 2014: ‘The Zero Theorem’ undermines its satire with muddy ideology and philosophy

    Stop me if you’ve heard this one already: a low-level cog in a comically large bureaucratic environment in a grotesque-looking “future” dystopia struggles in the face of obsolescence and oblivion. The character in question is fundamentally good, but incredibly weedy, their resolve and spirit having been ground to stumps by the world around them. More

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    The Best of Tilda Swinton’s Reddit AMA

    In addition to still-life model at MoMA and dance leader at Ebertfest, Tilda Swinton has now added “Redditeer” to her resume. She was on hand Monday for an AMA to promote Snowpiercer and put on her signature arty charm, earning a few nicknames (T-Swinny), declaring her love of Alt-J and revealing she’s actually a clone […] More

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    Script Matters: ‘Snowpiercer’ builds a new kind of prison

    South Korean filmmaker, Joon-ho Bong, has never been afraid of mixing genres.  In his latest and most challenging film to date, Snowpiercer, Bong mixes action, sci-fi and satire to create a delightfully twisted prison break story.  Snowpiercer owes much of its effectiveness to an ingenious script that uses 3 discrete acts to effortlessly shift its […] More

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    Video of the Day: The Best of Tilda Swinton

    Below is an incredible homage to Tilda Swinton edited by Erin McKnight in celebration of her 54th birthday. Set to Alt-J’s “Fitzpleasure” and Bjork’s “All Is Full of Love,” the five minute reel showcases her best work. Watch the video below. Enjoy! ****  More

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    SXSW 2014: ‘Only Lovers Left Alive’ beautifully examines love in isolation and immortality

    Only Lovers Left Alive Directed by Jim Jarmusch Written by Jim Jarmusch UK, 2013 Inspired by Mark Twain’s Extracts from Adam’s Diary, Jim Jarmusch’s Only Lovers Left Alive beautifully explores love and living after immortality siphoned away any semblance of life. Beautifully shot and wonderfully performed, the film eschews the more bombastic side of vampiric […] More

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    GFF 2014: ‘The Zero Theorem’ sees Terry Gilliam in his comfort zone, for worse rather than better

    Though writer Pat Rushin scripted and conceived the story of The Zero Theorem, one can be forgiven for assuming Terry Gilliam came up with the narrative himself, being that it comes across as the work of someone who either saw every film Gilliam’s ever made or just happened to direct them. Indeed, The Zero Theorem sees Gilliam very much in his storytelling and thematic comfort zones, though sadly to diminishing returns. It openly scrounges scraps from earlier efforts, especially Brazil, but has little idea how to develop its ever so slightly different ideas beyond thin sketches. More

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