Schulz's MediaCom VOD Picks
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Static Electricity: "The Amazing Spider-Man 2" and "As High as the Sky" PDF Print E-mail
Reviews
Written by Mike Schulz   
Sunday, 04 May 2014 12:33

Jamie Foxx and Andrew Garfield in The Amazing Spider-Man 2THE AMAZING SPIDER-MAN 2

The biggest problem I had with 2012’s The Amazing Spider-Man was that director Marc Webb’s superhero-origin tale – with its “let’s get this tiresome exposition over with” vibe and general lack of personality – felt merely like the setup for more interesting web-slinging adventures to come. The biggest problem I have with Webb’s The Amazing Spider-Man 2 is that it feels almost exactly the same, like a character- and conflict-building preamble that we have to endure to get to the eventual good stuff. Things certainly happen in Webb’s latest cinematic comic book, but they appear to happen solely because its surviving characters need to be positioned properly for their roles in The Amazing Spider-Man 3, the inevitable outing in which maybe, finally, the series will start living up to the imposed adjective in its title.

 
Parrots and Cats and a Pageant for Bunnies: "Video Art from Israel," May 4 at the Figge PDF Print E-mail
Feature Stories
Written by Mike Schulz   
Tuesday, 29 April 2014 06:00

The Days of the Family of the BellOn May 4, in an event co-sponsored by the Jewish Federation of the Quad Cities, the Figge Art Museum will host the screenings of a feature-length documentary and seven shorter works, all of them by award-winning Israeli filmmakers. Yet if the you enter the Video Art from Israel: A One-Day Sensory Experience presentation with preconceived notions about the films’ collective subject matter – anticipating explorations of Israel’s foreign policy, say, or the country’s ongoing struggle with Palestine – you’re likely to be in for a surprise or two. Or eight.

 
Cheat Wave: "The Other Woman," "The Quiet Ones," and "Brick Mansions" PDF Print E-mail
Reviews
Written by Mike Schulz   
Sunday, 27 April 2014 19:16

Cameron Diaz, Kate Upton, and Leslie Mann in The Other WomanTHE OTHER WOMAN

Unduly high expectations, as we all know, can sometimes ruin your movie-going experience. Unduly low expectations, on the other hand, generally yield nothing but benefits, and so I’d like to thank film-critic consensus for making me so fearful of Nick Cassavetes’ The Other Woman. This revenge comedy may be indefensibly weak, but the unbridled and unwarranted zeal with which so many people are attacking it – The Dispatch/Rock Island Argus used Richard Roeper’s description “excruciatingly awful” as the review’s headline – makes me feel that some defense might be necessary.

 
Near-Def Experience: "Heaven Is for Real," "Transcendence," "Bears," and "A Haunted House 2" PDF Print E-mail
Reviews
Written by Mike Schulz   
Monday, 21 April 2014 12:25

Greg Kinnear and Kelly Reilly in Heaven Is for RealHEAVEN IS FOR REAL

So far this year, audiences for faith-based films at the multiplex have been treated to Son of God, God’s Not Dead, and Noah, and now there’s director Randall Wallace’s Heaven Is for Real to add to the mix. Have the Hollywood powers-that-be heard something about an imminent Rapture that the rest of us haven’t? Should I now be feeling awkward and guilty about my raucous laughter at This Is the End?

 
Taking One for the Team: "Draft Day," "Oculus," "Rio 2," and "Mysteries of the Unseen World" PDF Print E-mail
Reviews
Written by Mike Schulz   
Sunday, 13 April 2014 13:59

Kevin Costner and Jennifer Garner in Draft DayDRAFT DAY

Draft Day casts Kevin Costner as the Cleveland Browns’ general manager on the titular day in which his professional and personal crises reach their boiling points. And 20 minutes before its climax, director Ivan Reitman’s pro-football saga lands on what is simultaneously its most ironic and most perverse moment, which finds a roomful of executives and analysts bickering about a potential trade, and Costner’s Sonny Weaver Jr. ending the squabble with the incensed directive “Just give me a moment of silence so I can think!” The moment is ironic because, to this point, the movie has already been flooded with silence. The moment is also perverse because, after 90 minutes of pause-heavy introspection and hushed build-up – with the audience all but slavering for a scene of biting, fast-paced bickering – now is when Sonny demands some quiet?

 
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