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 following is a review of Us — Directed by Jordan Peele.
No directorial debut this decade has made as much noise as Jordan Peele’s Get Out did. The social-horror film was made by a comedian from a popular two-man sketch comedy group who, as it turned out, had his finger on the pulse of America. Get Out is not just one of the most discussed films of the decade, it’s also one of the most interesting, one of the most rewatchable, and, arguably, one of the best. Though Us may not be as sharp, potent, or intelligent as Get Out, Peele here proves that he is no one-hit wonder. Get Out wasn’t a fluke, Jordan Peele knows exactly what he’s doing. Continue reading “REVIEW: Us (2019)”→
Two years ago, a short film director contacted me with a comment on the blog. He hoped that I would find the time to have a look at his latest short film. And even though I didn’t — and still don’t — review short films, I did find the time to watch his short film. It was discussed in the first-ever ‘Short Film Spotlight,’ within which I also discussed another short film that I really enjoyed from a filmmaker who had approached me on Reddit. Now, in 2019, both filmmakers have reached out to me again, so, I thought I should give my readers an update on their careers by writing about their latest short films. Continue reading “Short Film Spotlight: The Follow-Up”→
The following is a review of Triple Frontier — Directed by J. C. Chandor.
From the director of All is Lost and A Most Violent Year, J. C. Chandor, and the writer of The Hurt Locker and Zero Dark Thirty, Mark Boal, Netflix’s Triple Frontier — named for the tri-border area of Argentina, Brazil, and Paraguay — includes arguably the most star-studded blockbuster-like cast for a Netflix Original Film yet. Continue reading “REVIEW: Triple Frontier (2019)”→
The following is a review of Captain Marvel — Directed by Anna Boden and Ryan Fleck.
It’s good to be Marvel. One year ago, the industry was still in shock over the huge success of Marvel’s Black Panther. Only one month later, Avengers: Infinity War would break many records and, along with Black Panther, make sure that the first six months of 2018 was owned by Marvel. Now, in March of 2019, Marvel Studios can finally say that it has Oscars to its name following Black Panther‘s historic wins at the 91st Academy Awards. Some things never change, we are now waiting for another huge Avengers-film. Continue reading “REVIEW: Captain Marvel (2019)”→
The following is a quick review of Isn’t It Romantic — Directed by Todd Strauss-Schulson.
Released in theaters on Valentine’s Day in North America and at the end of February on Netflix elsewhere, Isn’t It Romantic is a film about a woman tired of a stale film genre who, then, suddenly finds herself inside of such a film. The film follows Rebel Wilson’s Natalie, an Australian woman living in New York City whose mother turned her off romantic-comedies as they presented scenarios that ‘weren’t made for girls like them.’ Continue reading “REVIEW: Isn’t It Romantic (2019)”→
The following is a quick review of Paddleton — Directed by Alex Lehmann.
There is a way to sugarcoat and refuse to spoil what Paddleton is really about. I could tell you that it’s just about two old friends and neighbors playing some game they invented for 90 minutes. I could feed you some line about how it becomes surprisingly moving or something like that.
But, I’m not going to do that, because Alex Lehmann’s Paddleton essentially reveals its nature in its very first scene in which it is revealed that Mark Duplass’ Michael is suffering from terminal cancer. Paddleton, though — yes — named after the game that is two friends’ own invention, is a film about assisted suicide, saying goodbye, and reluctantly coming to terms with a loss. Continue reading “REVIEW: Paddleton (2019)”→