• Walk of Shame

    Walk of Shame


    Not even sure why I bothered...

  • 22 Jump Street

    22 Jump Street


    22 Jump Street is not only one of the best comedy sequels in recent years, but it may prove to be a staple in postmodern film culture. The metafictional narrative of 22 Jump refuses to withdraw itself for a moment, never allowing the audience to forget they're watching a movie. Self-aware as well as self-reflexive, Lord and Miller form their humour from the concept of Hollywood sequels and the dysfunction/redundancies they are generally engrained with. It actually works wonderfully. The…

  • That Awkward Moment

    That Awkward Moment


    That Awkward Moment, as a contemporary "romantic" comedy, is weakened by a faulty premise and is drenched in misogyny; but the strong cast, bold humour, and life-as-we-know-it storytelling lifts the film above other recent Hollywood releases of the same genre.

  • The Fault in Our Stars

    The Fault in Our Stars


    It's hard not to at least respect the tragedy in The Fault in Our Stars. The life of a terminally ill cancer patient is one I couldn't begin to imagine. Shailene Woodley, who is clearly modelling her career after Jennifer Lawrence, plays her role as Hazel with guts, grit, and grace. Her relationship with her mother was very well done, but I found the scenes hosting Hazel alone (crying, thinking, waiting) to be particularly compelling. The girl can act, and…

  • Neighbors



    Nicholas Stoller (Forgetting Sarah Marshall, Get Him to the Greek) has produced, yet again, what may turn out to be the funniest film of the year. I can't count the amount of times I lol'ed in an empty Thai cinema during this film. Stoller's ability to provide a constant stream of laughs while staying focused within the narrative is truly incredible. Neighbors has a healthy mix of low, middle and high brow humour that resists becoming tiresome or anticipated. What…

  • Godzilla



    The first 30 minutes of Godzilla had me questioning everything that critics, friends and twitter had told me. "This is a great movie", I says. "Everyone else is wrong", I says. Within the first 10 minutes of the film I had goosebumps, the chills, and almost shed a tear for fuck sakes. But then the rest of the movie happened.

    The films first act is extremely promising--compared to the rest of the movie it seems like a sure bet for…

  • X-Men: Days of Future Past

    X-Men: Days of Future Past


    Mutant abilties, time travel and CGI are not what drives the most recent X-Men flick; it is the well rounded, ridiculously tense and emotional conflict that gives DOFP it's power. Mutant vs. Mutant, Mutant vs. Human, Human vs. Human, Mutant vs. Self, and etc. But for myself, nothing compares to the conflicting relationship between young Xavier (McAvoy) and young Magneto (Fassbender) Very rarely is the audience privy to, or even drawn to, both sides of the Good-vs-Evil coin; but Singer…

  • Inglourious Basterds

    Inglourious Basterds


    Still a masterpiece--or, a BINGOOO!!!! (How fun!)

  • The Secret Life of Walter Mitty

    The Secret Life of Walter Mitty


    Perhaps the biggest surprise of 2013.

  • Divergent



    Although Divergent will almost surely appeal to it's target audience (young adults and fans of Hunger Games/Twilight), the film suffers from the repetition of heavy-handed themes and morality lessons--to the point of nauseum. The film's title suggests individuality and non-conformance, but unfortunately and ironically re-creates the same shit we've seen time and time again. However, whereas Hunger Games develops a somewhat compelling plot/setting/circumstance, Divergent dives straight into the chaos, attempting to unravel a convoluted story with inadequate character motivation or reasoning. This is the start of a series that will prove to be successful ($$$), but has little right to be.

  • The Monuments Men

    The Monuments Men


    In more ways than one, The Monuments Men feels like a gay re-imagining of Tarantino's Inglourious Basterds. The jaunty, strangely flamboyant tale fails to inject any inherent sense of urgency or sincerity, and is thus unworthy of any devotion or empathy; The film is unable to emulate the seriousness of it's own topic, and at times it feels like the actors themselves have a hard time buying into their roles. The beginning of the film has Clooney's character trying to…

  • The Counselor

    The Counselor


    The Counselor is by far the most pretentious film of 2013. Instead of working within the context of what could be a fairly entertaining plot, Scott repeatedly takes the audience into scenes of pointless and intentionally ambiguous dialogue, of which he pretends to input a deep and almighty meaning into. The film truly does have an intricate plot, intriguing characters and interesting concepts. However, the condescending tone only tastes of betrayal as the film intentionally seeks to supersede it's own knowledge of nothingness over the audience.