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"Dude, Where’s My Conscience?": "Chronicle," "The Woman in Black," "Big Miracle," and "The Last Reef" PDF Print E-mail
Reviews
Written by Mike Schulz   
Sunday, 05 February 2012 16:34

Dane DeHaan in ChronicleCHRONICLE

Part superhero (and -villain) origin fable and part teen-angst melodrama, Chronicle concerns three high-schoolers who venture down a mysterious hole in the Earth and emerge with telekinetic powers, and the best thing about the movie is that its leads subsequently behave just as high-schoolers likely would in such a situation.

 
Northern Exposure: "The Grey," "Man on a Ledge," and "One for the Money" PDF Print E-mail
Reviews
Written by Mike Schulz   
Sunday, 29 January 2012 15:38

Liam Neeson in The GreyTHE GREY

Whenever I watch a movie such as Alive or The Thing or director Joe Carnahan’s The Grey – especially in January – I ask myself the same question: Is it worth it? I know about cinematic sleight-of-hand, of course, and that the performers and crew aren’t enduring anywhere near the nightmarish conditions suffered by the characters on-screen. I also presume that a fat Hollywood paycheck instantly makes any location shooting, including The Grey’s outdoor shoot in wintry British Columbia, a lot more bearable. But still, all that ice and wind and trudging through thigh-deep snow ... . Is any movie experience worth spending three months in fear of losing your digits to frostbite?

 
The 2012 Academy Award Nominees PDF Print E-mail
Feature Stories
Written by Mike Schulz   
Tuesday, 24 January 2012 11:16

HugoWell, I have to hand it to the Academy of Motion Picture Arts & Sciences: For all of the widespread grousing about its changing the rules regarding the Oscars’ Best Picture race for the second time in three years, they did manage to make this morning’s announcement of the 2012 Best Picture contenders exciting. And surprising. Very surprising.

 
Black and White and Rad All Over: "The Artist" PDF Print E-mail
Reviews
Written by Mike Schulz   
Monday, 23 January 2012 09:38

Jean Dujardin and Uggie in The ArtistTHE ARTIST

In the spirit of Michel Hazanavicius’ extraordinary silent-film celebration The Artist, I considered offering a review that, likewise, didn’t offer much in the way of verbal language – just a smiley-face emoticon in the biggest font possible. And after two viewings (so far) of this intimate yet grandly ambitious comedy, I’m still not sure that a review filled with actual words will offer a more thorough expression of the rapturous pleasure it fills me with; upon leaving Hazanavicius’ exhilarating experiment in black and white, both times, I haven’t felt the urge to talk about it so much as sit back and reflect on it with a huge grin plastered to my face.

 
Ground Zero Offense: "Extremely Loud & Incredibly Close," "Red Tails," and "Haywire" PDF Print E-mail
Reviews
Written by Mike Schulz   
Monday, 23 January 2012 09:34

Tom Hanks and Thomas Horn in Extremely Loud & Incredibly CloseEXTREMELY LOUD & INCREDIBLY CLOSE

The protagonist of director Stephen Daldry’s Extremely Loud & Incredibly Close – based on Jonathan Safran Foer’s famed 9/11/01-themed novel and adapted by screenwriter Eric Roth – is Oskar Schell, an 11-year-old Manhattanite who tells a new acquaintance that he was once tested for Asperger’s syndrome, but that “the results weren’t definitive.” My first thought upon hearing that admission was that Oskar’s folks really should’ve sought a second opinion, because with young actor Thomas Horn tearing through breathless reams of stream-of-consciousness dialogue, his condition seemed definitive as all-get-out. My second thought, which I only fully composed during the end credits, and which I apologize for in advance, was that watching Extremely Loud was like watching a movie while an 11-year-old with Asperger’s yammers in your ear for 130 minutes.

 
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