Adam Driver
Movie Review: Midnight Special
Anticipation for Midnight Special was high heading into the film’s release. Perhaps, even a little too high. So much had been said about director Jeff Nichols and haunting muse Michael Shannon that the Internet had many thinking it would rocket off into another dimension of quality. That it would be this generation’s Close Encounters of the Third Kind (1977), E.T. (1982), and Starman (1984) wrappe...[Read More]
Movie Review: Star Wars: The Force Awakens
Star Wars: The Force Awakens needed to do two things. First of all, it needed to erase the sour memory of the prequels, at least in the minds of ardent Star Wars fans. Secondly, it needed to prove it could stand with the original trilogy as a fitting sequel to Return of the Jedi (1983). Amazingly, it does both. From the opening crawl, which packs more excitement into it than any of the crawls from...[Read More]
Trailer Trashin’: Return to a Galaxy Far, Far Away in the Star Wars Episode VII: The Force Awakens Official Trailer
Happy Halloween, dear readers! Whether you’ll be out trick-or-treating, at home giving out candy, going to parties, or something else entirely, I hope you enjoy the holiday. Now, let’s take a look at the official trailer for the biggest movie of the rest of the year, Star Wars Episode VII: The Force Awakens. Premise: The Force Awakens is set approximately thirty years after the events of Return of...[Read More]
Movie Review: This Is Where I Leave You
In This Is Where I Leave You, amidst a tumultuous time in his own marriage, Judd Altman (Jason Bateman) finds himself surrounded by the family members he both loves and can barely tolerate. For seven days following the burial of Judd’s father, the Altman family — led by the perfectly meddlesome family matriarch, Hillary Altman or “Mommy” (Jane Fonda) — must sit Shiva (participate in a week-long mo...[Read More]
Movie Review: Frances Ha
Comparisons to vintage Woody Allen have buzzed around Noah Baumbach’s dramatic comedy Frances Ha since it premiered at last year’s Toronto International Film Festival; mostly due to the fact that it is shot intimately in soft-grey-and-white and features a dawn-watching romantic score that owes a greater debt to some French film critics than to Mr. Allen’s more formalistic style. Baumbach’s lovable...[Read More]
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