Arthouse Blockbuster, by Bob Connally

28 Apr

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Robert Eggers’ 2015 debut, The Witch, announced him as a filmmaker with a strong, singular voice out of the gate. The film’s sense of atmosphere and attention to detail made it an immersive experience that lingered with you long afterwards. At the time many assumed that Eggers was the next great horror filmmaker but with 2019’s The Lighthouse and now his newest movie, The Northman, it appears that Eggers’ real interest is in history and in placing his audience into a world long forgotten. These are not historical epics that keep the viewer at a distance. Eggers puts us right in the muck with his characters in a way few directors even attempt and while The Northman is his most ambitious film to date, it feels decidedly consistent with his previous work.

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Double Trouble, by Bob Connally

28 Apr

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Whether or not it ever becomes a reality, the ethics of human cloning have long been the subject of debate and a popular premise for science fiction stories. But imagine a society where it has been established as a way for the dying to have themselves replaced in order to prevent their loved ones from having to say goodbye. Now, imagine the original person doesn’t die after all and he or she is forced to fight their clone to the death because, by law, there can’t be two of them. This is the premise of writer-director Riley Stearns’ dry, dark satire, Dual.

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Multiverse of Gladness, by Bob Connally

19 Apr

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Coming six years after their brilliantly bonkers debut feature, Swiss Army Man, Dan Kwan and Daniel Scheinert have delivered a movie that is no less unique but one that is much more ambitious on multiple levels. Everything Everywhere All At Once stars Michelle Yeoh as Evelyn Wang, a woman exhausted from owning and operating a laundromat with her husband, Waymond (Temple of Doom and Goonies star Ke Huy Quan, returning to acting after several years away). She is also struggling with taking care of her elderly father, Gong Gong (the legendary James Hong) and has a deeply strained relationship with her 20-something daughter, Joy (Stephanie Hsu). On top of that, IRS agent Deirdre (Jamie Lee Curtis) is coming down on Evelyn hard over some questionable business expenses. As if all of this were not enough for Evelyn to deal with, it pales in comparison to the news Waymond gives her, which is that she is the key to preventing the collapse of the multiverse. Evelyn – and the audience – are about to go on an adventure beyond anything she could have imagined.

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Episode 244: The Batman

17 Mar

In this episode, Tyler discusses Matt Reeves’ The Batman and Paul Haggis’ Crash.

The Bob Awards!

8 Mar

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This year’s Oscar field is maybe the most uninspiring I can remember and for the second year in a row I feel absolutely no desire to watch the telecast. I’m even more indifferent to slogging through it given the disrespect the Academy and ABC are showing to the nominees in several categories. So save yourself some time and misery by reading the winners of this year’s Bob Awards which are far more important and obviously the correct choices anyway because I made them. Enjoy!

Cinematography

The French Dispatch – Robert Yeoman

Costume Design

Last Night in Soho – Odile Dicks-Mireaux

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Declawed, by Reed Lackey

14 Feb

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The new film from writer-director Sean Ellis seeks to build upon both a renewed recent interest in folk and historical horror and the classical mythology of the werewolf while delivering a frightening, atmospheric morality nightmare. While its returns on the former efforts are a mixed bag, it firmly delivers on the latter. The Cursed begins in the trenches of the first world war where, after surviving several gunshot wounds, a soldier endures an operation to remove the bullets. However, after a strangely shaped bullet of silver is removed, the story goes back 35 years to its primary narrative of greed, vengeance, and – of course – a curse.

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The Old Familiar Feeling, by Bob Connally

9 Feb

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Romantic comedies were once plentiful. A trip to see one at the theater would be accompanied by trailers for six more coming in the following months. But over the past decade or so they’ve become few and far between with most of those going straight to a streaming service. I Want You Back feels like the sort of movie you would have gone to on a date in 1997, but in 2022 you’ll find it on Amazon Prime. In so many other ways though it feels like a movie from 1997, from its story beats to its characters to its music cues. It’s predictable and derivative, yet there’s something cosy and enjoyable about it. It knows what it is, its leads are likable and have great chemistry, and it’s legitimately funny, if not hilarious. It’s a perfectly alright little movie that you’ll forget about but you won’t regret having watched.

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The Bob Award Nominations!

7 Feb

It’s that time again, friends! Time for the announcement of the Bob Award nominations. If you’re a newcomer to these, think the Oscar nominations but way better. There are just a few more movies I had been hoping to see first, such as The Worst Person in the World or Drive My Car but if they’re not going to be made available by February then what are we doing here? So with the table set, here are the Bob Award nominations for the movies of 2021. The winners will be announced here soon.

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Episode 243: Ford v Ferrari

23 Jan

In this episode, Tyler discusses James Mangold’s Ford v Ferrari and Jon Favreau’s Chef.

Filling In the Blanks, by Bob Connally

18 Jan

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As a reviewer I obviously watch a lot of films but I really only review a relatively small number of them. Still, I have thoughts on everything I see and I figured I would share some of those here (even this won’t be nearly everything new I watched). I won’t be covering the entire year of 2021. I’ll just be going through the past few months and I won’t be dealing with anything that I wrote full reviews of here already. So as another of Tyler’s friends likes to say, “Let’s get into it, shall we?”

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