Review: SNOW WHITE AND THE HUNTSMAN

Who doesn't know of Snow White, the girl with skin white as snow, lips red as blood, and hair black as ebony? Specially this year, after the Brothers Grimm princess has made no less than three appearances in film and television. First in the series "Once Upon A Time", where a curse falls upon Fairy Tale Land and Snow ends up in present day Maine. Then she reappears in "Mirror Mirror", a cute yet absurdly childish film starring Julia Roberts as the Evil Queen? Really? And now, after months of watching the awesome trailer, comes "Snow White and the Huntsman", the darkest account of the princess to date.

Review: IN TIME

Value is a thing of faith. Cash is physically worth nothing but paper, ink, and in the case of coins, metal. Sometimes, as in the case of the penny the metal is worth more than the value attached to the object; the copper in a penny is worth 1.5 cents approximately, but most of the times it is the reverse; a $100 bill costs about 50 cents to make. I won’t claim to be an expert in economics, but I do understand why some people argue that we should go back to the gold standard (whatever that means), or just get rid of cash altogether and switch to digital points as if life were a video games. I'm pretty sure we are much closer to actually doing the latter than going back to metallic standards.


In Time, comes up with an intriguing proposal about using our lifetime as -basically- cash. A cup of coffee costs ninety minutes of your life, a taxi to midtown a year. In this world the rich are semi-immortal, with a million years to spend, and the poor live day by day; spending most of their daily wages on sleep just so they can rest in order to earn their hours the next day. 

Review: BERNIE

Small town, middle Americans are mocked as uncultured, uneducated, discriminatory and naïve. At the same time, many of the residents pride themselves on simple joys, practical know-how, camaraderie and displaying trust. Having grown up in Kansas and lived in other places, I’ve lived through interactions of both states of mind and saw each on display yet again in Richard Linklater’s refreshing and personable film, “Bernie.”

Linklater, while not quite worthy of household recognition, is essentially the Otto Graham of Mumblecore cinema and to a lesser extent, the indie film movement from the early nineties. In such a sense, Linklater is as condemnable (if not more so) as Quentin Tarantino for his legions of film school imitators who have far less to offer the world than their silver screen superstars. As he has for the last twenty years, Linklater’s newest movie can only knock at the door of mainstream cinema—which is a sad limitation given the quiet brilliance of “Bernie.”

Review: DARK SHADOWS

The Tim Burton / Johnny Depp collaboration has, by now, become a genre of its own. Originally it was a fresh new take at the gothic horror story as a comedy of manners. But what was once fresh has now become so conventional that Burton-esque is indeed an adjective. Usually filmmakers strive for their name to become an adjective  but when you can apply it to their own work, it means their work is becoming repetitive and uninspired. Dark Shadows is very Burton-esque; it is exactly what you expect from a Burton/Depp summer blockbuster- nothing less than, but sadly, not much more either.

Review: MEN IN BLACK 3

I’ve put forth a theory before that the "Hollywood alien movie" is the most reflective genre of America’s military-industrial complex. In short terms: when the federal government nears a zenith of trust and efficiency (1960s, 1990s) alien movies are routinely about government employees saving the day. And when people are feeling rather low on their government (1970s, 2000s), alien movies are more personal, civilian and disaster-prone. This is the difference between “Independence Day” and “Men in Black” verses the post-9/11 counterparts, “War of the Worlds” and “Signs.” While the third “Men in Black”—in a rather inconsistent trilogy—offers nothing new cinematically, it at least hypothesizes that the nation has turned a corner in the last eight years.

Review: HAYWIRE

There isn’t much to Soderbergh’s newest film. The plot for the most part is nonsense; like many action films, Haywire simply uses any excuse to weave chase scene after chase scene together. In fact, Haywire isn’t really any different than a movie like, let’s say, The Transporter, except that the action is choreographed to look plausible, and that like every other Soderbergh film, it features a parade of cameos that includes every Hollywood name worth mentioning: Michael Fassbender, Michael Douglas, Ewan McGreggor, Gary Oldman, etc. Yet, despite their presence Gina Carano, a relatively unknown actress, remains the most interesting part of the film; and it is not thanks to her acting prowess.