It’s never as good as the first time. Alonso and I review the second half of Lars von Trier’s four-hour “Nymphomaniac,” which is far more dark and grim and judgmental than “Volume I.” The cynical, misanthropic von Trier is back.
You don’t have to have seen a single episode of any of the Alan Partridge TV shows to enjoy this feature-length film version. Steve Coogan is at his best with his signature comic character: a pompous, condescending but exceedingly needy and awkward British broadcaster. “Alan Partridge” is available on demand, so check it out.
Behold the bat-shit craziness as Darren Aronofsky takes on The Bible. But despite its gorgeous visuals and dazzling special effects, Aronofsky’s version of the Noah’s Ark tale almost isn’t crazy enough. It’s actually quite faith-affirming — surprisingly so for a big-budget studio picture.
“Mistaken for Strangers,” about the indie rock band The National, takes a totally different route into a genre we’ve all seen a million times: the music documentary. Matt encouraged all of us to see it because he loved it so much, and I’m so glad we did.
Like Tris standing before all those bowls at the Choosing Ceremony, I’m mixed on “Divergent.” But I’m way more positive on it than Matt and Alonso are. Then again, I made myself read the book — and now I actually want to read the next two.
That wacky Lars Von Trier. Who knew he was funny? Much has been made about the graphic nature of this film, in which Charlotte Gainsbourg plays a sex addict recounting her exploits for Stellan Skarsgard. But not only is it not a titillating experience, it’s also lighter and more playful that you might expect — and more decent toward its self-loathing female heroine.
I really wanted to love “Muppets Most Wanted.” It’s got a lot of funny individual bits and jokes and celebrity cameos, but the story just isn’t there, especially compared to the most recent Muppet movie. As Matt puts it here, “It’s fine, it just isn’t great.”
This is madness? This is … a prequel. Or sequel. Or sidebar. Or something. Alonso, Matt and I take a slo-mo stab at the follow-up to the super-stylized, ultra-violent 2006 hit.
You can check out any time you’d like, but you can never leave. Matt, Alonso and I review the latest Wes Anderson extravaganza, set in a lavish hotel in a fictional Eastern European country between the two world wars.
The texts are coming from inside the plane! The semi-annual Liam Neeson Festival of Ass-Kicking is back. This time, he plays a troubled air marshal who receives threatening text messages during a trans-Atlantic flight from New York to London. The “fasten seat belts” sign definitely is on.