Ensemble Avalanche! Black Mass vs. Everest

Depp-Mountain

Over the weekend I saw six movies’ worth of acting talent crammed into two movies, as the casting directors for Black Mass and Everest went a little nuts.  I think the industry term is castlust.  “Just one more guy, man, just let me cram one more B-list actor into this scene!  I know a guy who can get you Adam Scott real cheap, man!  Just let me stick him in the shot, man!”

Anyway, I’ll help you make the decision on which of these movies you should see, or if you should just go see the new Maze Runner movie, which I’ve been quoting from the commercials more than any movie I’ve actually seen in theaters lately.  “YOU’LL NEVER SURVIVE ONE DAY IN THE SCORCH!” is a sentence my fiance is certainly sick of hearing me yell out of nowhere by now.

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Movie Review: Men, Women & Children

MEN, WOMEN & CHILDREN

Men, Women & Children, if you do not know (I suspect most of you do not know), is the new film from Jason Reitman; a sometimes gifted director, the spawn of Ivan Reitman, and an American doppelgänger of Edgar Wright.  It’s an ensemble picture about our overuse of technology (mostly cell phones and websites) within a high school in Texas, focusing on the parents in the community (MEN, WOMEN) as well as the teenagers at the school (& CHILDREN).  The movie has way too much going on for its own good, and all of the scattered storylines mixed together made it kind of an interesting mess.  Instead of a conventional review, I’ll just quickly rank all of Men, Women & Children’s different plot lines from best to worst:

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Lazy Movie Review: The Grand Budapest Hotel

grand budapest

Premise:  Told through an almost Inception-like layering of voice over narration, a teenage girl reads a book narrated by an older writer who recounts his younger self narrating a story that was originally narrated by an older version of a lobby boy who worked with a world-famous hotel concierge when he was younger.  The actors involved in that sentence were Tom Wilkinson, Jude Law, F. Murray Abraham, and Ralph Fiennes; in that order.  It’s also the newest Wes Anderson movie, so expect plenty of dry humor, center alignment, and consistent fonts.  And as expected, people still write each other hand-written notes in playfully whimsical cursive lettering.

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