• A Good Day to Die Hard

    A Good Day to Die Hard

    America's leading action hero, John McClane, is back and far worse than ever in A Good Day to Die Hard. The fifth installment of the franchise is a complete and utter disappointment, bringing shame to Die Hard fans everywhere. With the recent success of rival action icons (James Bond, Sherlock Holmes), one might have suggested that John Moore put some effort into this project, in hopes to maintain a competitive series. He didn't. In fact, Moore did just what McClane…

  • Identity Thief

    Identity Thief

    Identity Thief is one disaster of a film. The jokes are stale, the plot is exceedingly boring and it's running time is miserably long. The film fails to make any emotional connections, generate any sympathy, or receive any support from the audience whatsoever. Personally, I find McCarthy to be repulsive, annoying and ridiculous. I cannot wait until her short-lived (hopefully) career in Hollywood is over. The film received one measly star solely based on Jason Bateman, as his improvisations are the only comedic elements. I would not recommend Identity Thief to my worst enemy, who coincidentally right now is Melissa McCarthy.

  • Warm Bodies

    Warm Bodies


    Warm Bodies is an organic, unconventional twist on the zombie genre. Since Twilight, Hollywood has abused a market that has screamed for more films about the 'undead', whether vampires or zombies. We have seen the market split into two sub-genres: romantic vampire entries; and, bloodied zombie apocalypses. Warm Bodies flips this concept on it's side, by constructing a film that encompasses both of these contrasting ideas. People are falling in love with vampires in what feels like every other film…

  • Mama



    I have never been a fan of the horror genre, and Mama does not change that. Some performances were good (Chastain is strangely hot), the camerawork was above average and the ending was surprisingly unconventional. But beyond these few remarks, I have nothing else positive to say about Mama. Poorly motivated killer ghosts, contortionist children, disgusting throat noises and the oh-so-cliched 'nightmare scare' have very litte appeal to me. I would not recommend this film to anyone who, like me, lacks respect for the horror genre. But for those of you who are somehow amused by 'scary movies', Mama might be right up your alley.

  • The Last Stand

    The Last Stand


    "My honour is not for sale..."

    Ya okay, Arnie.

    The Last Stand is a modernized western that offers lots of guts, but little glory.

  • Here Comes the Boom

    Here Comes the Boom


    Here comes the cliche...

  • Now You See Me

    Now You See Me


    Now You See Me has the potential to be a good film; however, beyond all the glitz and glam lies an unfulfilling result. The star-studded cast does there best to entertain but they are working with an emotionally bankrupt script that makes no room for character development. Also, the 'magic' displayed in the film relies too heavily on electronics and hypnosis(?) instead of traditional allurement, making everything feel a bit farfetched. Not to say Now You See Me is a brutal movie as it begins flashy and fun, but the twists and turns lead to an unsatisfying end.

  • Parker


    In Parker, Jason Stratham's character manages to steal more cars than the entire ensemble of Gone in 60 Seconds. I can't justify writing anymore than this.

  • Mud



    Jeff Nichols' Mud is a heartfelt tale following two young teenagers and their attempt to aid a fleeing fugitive. Initially, I was expecting more of a satisfying revelation regarding Mud's (McConaughy) past/crime. However, Nichols keeps the plot within a safe, somewhat generic territory, not over-reaching for the strict purpose of audience appeal. Mud refuses to get too entangled in it's plot, and instead focuses on it's characters, themes and setting. Nichol's excels in developing an authentic feel for the audience,…

  • Side Effects

    Side Effects


    Steven Soderbergh's Side Effects is a sly psychological thriller cloaked with society's increasing dependence on prescription medication. The film depicts the lives of people suffering from clinical depression, and builds it's shadowy theme upon the pile of interchangeable drugs in which psychiatrists prescribe to treat such symptoms. Instead of taking a classical approach to social psychology, Side Effects attacks it from a constructionist standpoint; in that, society shapes and defines what it's members experience. The film consists of several characters…

  • Fast & Furious 6

    Fast & Furious 6


    "We only have about 144 more miles left of airstrip, we need to get this done FAST!!" -- Random Henchman

    The Fast & Furious gang returns to theatres darker, bolder, louder and yes, faster in the much anticipated sequel to 2011's Fast Five. Please take a minute to understand what Justin Lin has accomplished. In modern day Hollywood it is unusual to witness a series that incorporates any more than three parts, excluding Bond. Thus, for a franchise to move forward…

  • The Hangover Part III

    The Hangover Part III


    The Hangover Part 3 is a disaster of a film and hopefully the final chapter of the series. The third installment was thrown together with little to no effort and failed to include one key element: comedy. I would have laughed more at a city morgue. As Phillips dramatizes the material (material that should have never existed), he attempts to develop characters that audience doesn't give a fuck about. Ultimately, this leads to a one chaotic mess that feels drawn…