Most discussion of documentaries, like that of a historical/period biopic, seems centered more around the subject matter than the movies themselves. A lot of documentary filmmakers have gotten away with building entire careers on this fact – one in particular (whose name I won’t mention) has managed to create and popularize his own subgenre of shrill, “ambush”-style comedy-documentary, which has dominated the industry for over two decades now, based on the fact that people only discuss him in terms of the ideas he sets forth, not on the quality of movie he actually makes (and don’t even get me started on what I think of him as a human being). Me, I enjoy a good documentary as much as the next guy, but much prefer the interview-only or fly on the wall types to the ones with lots of voiceovers, Powerpoints, and “wacky” infographics, all of which I find a bit obvious, reductive and…well, cheesy.
I don’t always get to go the theaters for animated movies since I don’t have any kids myself currently so when I do go it sometimes is a treat and makes me feel like a kid again. Plus with me being so busy lately and lacking time for Christmas movie watching, I was excited to be able to see Arthur Christmas. It came done to that or Puss in Boots but thankfully the kids I was with selected this. Nothing against Puss in Boots but I wanted to get into the holiday spirit.
This week listener Callum Reavey asks the Advocates, “What is the best decade for films?”
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This week Mike, Rene, and Mike discuss Alexander Payne’s latest film The Descendants.
Give us a listen because we are a podcast within a podcast.
Two years have passed since Guy Ritchie brought us a new version of Sherlock Holmes to the big screen. Bringing back the dynamic detective duo of Sherlock Holmes and Dr. John Watson, Ritchie gives us the latest in his storytelling in Sherlock Holmes: A Game of Shadows.
Warrior seems to be an attempt to create a modern-day Rocky; a less kind reviewer might say it’s trying to ride the coat tails of last year’s The Fighter. It is not successful. That being said, it is not a terrible movie, just one lacking in (maybe too) many areas.
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The very first Director Spotlight we did on this website was Woody Allen, starting with Annie Hall and ending with Vicky Cristina Barcelona. Annie Hall got me on a path of reverence for the neurotic comic genius that is Allen. Since Annie Hall, my first real introduction to his work, I have watched a number of his films, each with a different lens, each with a different outcome. Now, today, I have the pleasure of discussing his latest comic opus, Midnight in Paris. Read the rest of this entry
I’m torn on MirrorMask, my DAMRB Secret Santa gift this year. I can see how people can like it, even adore it (including, I’m assuming, my fellow reviewer who bestowed it upon me), but I can also see it as a clumsy, second-rate children’s tale.
The Fifth Element is a weird movie. Almost every aspect of it is bizarre, and, for the most part, I can’t tell if it’s intentional or not. With a few caveats, it’s awesome. Read the rest of this entry
The “young adult” market, in case you don’t know, refers to that segment of the reading audience that is perhaps too old for Dr. Seuss and Winnie the Pooh, but not quite ready for Faulkner or Fitzgerald. Late grade school thru junior high, roughly – the “tween” years. Though these books are written for 11 and 12 year olds, the subject of the books themselves is, more often than not, high school – a time just far enough away to seem glamorous and even magical, while not so far away as to be inconceivable. Funnily enough, that’s basically how nostalgia works as well – the “young adult(s)” of Jason Reitman’s Young Adult refers to people well into their 30s, arrested in and obsessively replaying their glory days, generally trying their best to look, act, and feel like they did back in high school. We’ve all been there. Haven’t we?
This week Rene and Mike discuss Sundance’s sweetheart Martha Marcy May Marlene.
Give us a listen, because we can deprogram brainwash victims.
The Sitter – this generation’s answer to Adventures in Babysitting – may be our last glimpse of the spherical Jonah Hill. And based on the trailer for 21 Jump Street, perhaps those worried about the correlation between weight loss and funny loss may be right.
Tom Holland’s original Fright Night from 1985 is a movie that I’ve always loved and, as confirmed by a recent DVD viewing, still very much do. It manages to be both fun (and more than a little campy) at the same time it presents itself as a credible, even frightening horror film. It has, even to this day, some of the best vampire (and vampire-death) affects I’ve seen in movies (achieved, not for nothing, using “simple” makeup, costumes, prosthetics, puppets, and lots of stage blood – take that, billion-dollar CGI houses!). Of course, I had the knee-jerk negative reaction to news of a remake, but the casting announcements (David Tennant! Colin Farrell! Toni Collette!) were very interesting and not only gave me hope that it could be good, but as the release date neared actually got me quite excited to see it. And after last weekend’s viewing, I can finally and wholeheartedly confirm that it wasn’t completely awful.
During one of our mini-episodes of the Devil’s Advocates podcast, I was complaining about how filmmakers now have such great technology at their disposal and make horrible movies with all of that technology. In the last five years, we have been inundated with movies like Avatar, The Last Airbender, Clash of the Titans and a whole lot of other horrible movies that were just excuses to show off special-effects. I used the example of Raiders of the Lost Ark to show how a movie could be made thirty years ago with some of the simplest movie making techniques (matte paintings, puppets and miniature sets) and still be better than most of what Hollywood keeps putting into the movie theaters now.
I have seen a lot of movies. I like “bad” movies. One of my favorite movies of all time is Half-Baked. I can appreciate a B movie. Then, I watch something like Birdemic and my faith in humanity is tested to its limits. Birdemic has to be the worst movie I have ever seen on purpose. Coming from me, that speaks volumes. This makes Avatar look like Hamlet.
Before I start this review, I gotta say, I didn’t think I’d been THIS naughty this year. Cause the DAMR Secret Santa took a big ol’ poop in my stocking, let me tell ya!
I am a huge H.P Lovecraft fan. I discovered his world of indescribable and unspeakable terrors at a tender age, and was instantly fascinated by the ancient gods and eldritch creatures that inhabited the mind of this undeniable brilliant man. His blend of horror, sci-fi, suspense and terror was just the thing the mind of a young wulf such as myself needed, and in no time I was hooked.
This week the Mikes discuss The Muppets, starring…a bunch of Muppets.
Give us a listen because…MANAH MANAH!
This week the Advocates discuss their favorite Christopher Nolan films.
Thanks go out to listener Callum Reavey for the question.
Submit your questions today.
This for me is the best film of Tim Curry’s career. His performance as Wadsworth, the butler of Hill House herding the guests of a dinner party turned murder scene is one of the most frenetic examples of scene stealing I’ve ever seen. Even ammongst all the screaming, intentional over the top acting and insanity, Curry stands out as the star performer. That doesn’t mean that the other performers are slouches. Each one of the actors portraying the guests at the mysterious dinner party play their part with comic skill not often seen in today’s comedy films.
Take one part James Bond, one part Indiana Jones and mix in some cowboys and throw in some aliens with a side of Olivia Wilde sex appeal and you get the latest Jon Favreau directed movie.
In Hollywood the adage “if it’s not broke, don’t fix it” rings truer than ever. If audiences shelled out hundreds of millions of dollars for a product once, they’re very likely to do it again. And again. And, if not, there’s always the reboot. Why create when it is so much easier (and more lucrative) to re-create? Because you may end up with The Hangover Part II.
Just so we’re clear, you stole a car, shot a bouncer, and had sex with two women?
When I found out that 1999’s Go was bestowed on me for this month’s spotlight my first thoughts were of excitement. Partly due to the fact that I haven’t viewed this film since that year and I do recall liking it and partly because I received what I deemed was a decent film in our Secret Santa genre month. Truth be told, before reviewing it I wouldn’t be able to tell you nothing about the plot other than Katie Holmes and Sarah Polley being grocery store employees and Timothy Olyphant being a drug dealer, everything else was a complete blur.
Each and every month here on Devils Advocates Movie Reviews we dedicate a month to spotlighting an actor, director, or genre. Getting into the holiday spirit, each available Advocate secretly picked a movie, which was randomly “gifted” to another Advocate. Join us each week in December as our reviewers give their thoughts on the movie selected for them; then join us on the last Friday of the month for the big reveal of who selected which movie and why. Check out the schedule below to see what’s in-store.
After a decade-plus absence from the big screen, those loveable Muppets triumphantly return in, you guessed it, The Muppets. And those Muppets are as self-aware as ever, taking their Hollywood and mainstream hiatus as a reason to rally the troops for a welcome comeback.
I’m going to admit to something that has rarely happened to me in the movie theaters. I was almost brought to tears by The Descendants. I had to walk out during the showing for a few seconds to compose myself. It came out of nowhere for me. One second, I’m laughing at something and in the next scene I was so moved I got choked up. That’s the kind of movie The Descendants is. It’s a movie about life and the surprises that can change everything in an instant.
Our Idiot Brother is more therapy than comedy; a cinematic trip to the psychiatrist – if the psychiatrist is a shaggy, magical hippie. In a deserved lead role, Paul Rudd is the idiot (and shrink) in question – a man dumb enough to sell drugs to an uniformed officer, yet smart enough to solve life’s petty problems in 90 minutes or less.
If there has been one genre that Hollywood has been unable to really churn out lately it’s solid original comedy. This year it seemed the only comedy that was liked by both critics and mainstream audiences was Bridesmaids, other than that we’ve had a string of mildly amusing, but sadly forgettable films. Romantic comedies have also been big this year with Crazy, Stupid, Love and Friends with Benefits, but again not really general comedies. In unfortunately limited release comes a solid entry into the lacking comedy genre this weekend with first time writer-director Eli Craig and co-writer Morgan Jurgenson bringing us Tucker & Dale vs Evil and just in time for Halloween.
After seeing 30 Minutes or Less, one can clearly see all the contention built of its parallels to another, more tragic story are just coincidence. Not to say 30 is drastically different, but there is no evidence the filmmakers thought that hard about the connection. They really didn’t seem to think too much about anything in this case.
When it comes to relationships, there’s always that age-old question of “Can there be a physical relationship without the emotional?” Well, Hollywood decided this year to give us two tales of it. Earlier in the year, Ashton Kutcher and Natalie Portman starred in No Strings Attached and now Justin Timberlake and Mila Kunis give us another take on the subject in Friends with Benefits.