There is something very exciting about a directorial debut. Obviously, the filmmaker is excited about their first chance to step behind the camera on a feature film, but, as an audience member or film writer of any kind, it is so fascinating to see the choices being made. Sometimes some of the boldest and most imaginative filmmakers present us with instant classics, other times newcomers deliver a product that may not be extraordinary filmmaking but which may still be a moving or exciting motion picture. In this month’s best of the decade list, I’m honoring the very best directorial debuts. Some of them are first works for potential auteurs, while others are impressive blockbuster entertainment from untested new filmmakers just learning the ropes. Continue reading “Best of the 2010s: Directorial Debut Films”→
Comedy isn’t black-and-white. The genre most associated with films like your average American comedy like, say, American Pie or some Judd Apatow film is much more than its stereotype. There are stylish and quirky comedies, absurd and dark comedies. Comedy films come in all shapes and sizes, and the Best of the 2010s-list highlights multiple different types in the genre. Continue reading “Best of the 2010s: Top Ten Comedy Films”→
The following is a short review of the RT Doc ‘Waiting for the Punchline‘ — Directed by Mat Hames.
Nick Scarpino is a co-founder of the San Francisco-based online entertainment company Kinda Funny. Before he began appearing on-camera during podcasts for Kinda Funny, he was most comfortable behind the scenes as a producer. Having found an audience and a sufficient amount of confidence, Scarpino, in early 2017, revealed to the other members of Kinda Funny that he wanted to try stand-up comedy. This documentary, Mat Hames’ Waiting for the Punchline, details his experience as a San Francisco stand-up who desperately wants a chance to do comedy on the stage of a notable San Francisco comedy club. Continue reading “REVIEW: Waiting for the Punchline (2019 – Documentary)”→
The BAFTAs are over. The Oscars are over. The book on 2018 films is about to be closed, but, wait, there’s more! Before we switch our focus completely onto the films of 2019 and the future awards season, I’d like to, as always, submit and present my own top ten films of the year-list. What was my favorite film of the year? What film got the honor of being my one and only honorable mention? It’s time to reveal the top ten films of 2018. Continue reading “Top Ten Films of 2018”→
The following is a review of Green Book — Directed by Peter Farrelly.
Today, as I was sitting in the theater watching Green Book, less than ten hours after it had won Best Picture at the 91st Academy Awards, I was briefly reminded of Mark Kermode’s thoughts on revisiting Moonlight after it had become an Oscar contender and then Best Picture winner. In his video, the British film critic remarked that he found himself seeing the film in a different light. It was no longer an indie hit — it had evolved and he saw different things in it. The film had risen to meet the expectations that the label ‘Best Picture winner’ brings with it. Continue reading “REVIEW: Green Book (2018)”→
It’s time. This awards season has felt really long, and, with how incompetent AMPAS has been in preparation for the big night, Oscars-night seems so mysterious and uncertain. Add to that the fact that there are so many different categories that we don’t really know which film is going to win including Best Picture, and we are left with a show that is probably going to be very interesting. Today, I’m giving my final predictions for the big Oscar night — the Super Bowl for the film community. Continue reading “Final 91st Academy Awards Predictions: Winners – Special Features #48”→