The Hangover: The Hangover, director Todd Phillips’ mostly hilarious comedy about a capital-L, capital-W Lost Weekend, is a lot like that car.
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And only a director as talented as Raimi could force a series of X-Rated exclamations out of you while you’re watching a PG-13 movie. But it’s worth a few Depends undergarments and half a pack of wet wipes.
Take an adult diaper, folks, because when DMTH isn’t making you piss yourself with laughter, it’ll be scaring the shit out of you, which makes for an awfully messy movie-going experience. Drag Me to Hell represents a complete return to form for Sam Raimi, who hasn’t made a movie this good since he kicked Ashley J.
Hell, forget the Spider-Man series and For Love of the Game while you’re at it. Agent Bedheadĭrag Me to Hell: Corpse vomit? Sign me up, you curmudgeonly old bitch. Don’t be surprised if, after watching this film, you awaken with a nightmarish start, only to discover that a whimpering child is attempting to climb into your bed in the middle of the night. Coraline may come with a PG-rating, but this is really more of a PG² sort of movie. Actually, a good measure of the third act comes with quite a bit of scariness for children under ten years. Much like the film’s heroine herself, Coraline is clever and inquisitive but more than slightly surly at times. This total integration took seven bloody years to achieve, and the result is an achingly gorgeous film, crafted in diligent detail and accompanied by Bruno Coulais’ deathly beautiful score. So much could have gone wrong on the way to the big screen in the hands of a lesser director, but Selick has achieved the fairly tenuous balance between his own craftsmanship and Gaiman’s work. This seemingly impossible feat occurs through an astonishingly effective collaboration between Neil Gaiman, author of the 2002 horror novella, and director-screenwriter Henry Selick. Simultaneously anxiety-inducing and affecting, Coraline is an exquisitely attractive film that never achieves its visuals at the expense of the story itself. This disturbing duality forms the basis for Coraline, a spooky film with an ominous “be careful what you wish for” tagline that sets the tone for the cautionary tale within. Sometimes, however, we cannot trust even our own eyes, for looks can often be deceiving.
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On Demand movies, part of your Blockbuster nights, or flicks you dial up on your Netflix queues for Thursday nights when the snow outside is a foot thick and there’s nothing but reruns on.Ĭoraline: Eyes are the windows to the soul, or so we’ve been told countless times. But at the same time, they’re not bad movies they’re not embarrassing or atrocious or laughable. These movies aren’t blockbusters, they’re not particularly intelligent or sophisticated, and they’re not DVDs most people would necessarily buy. I despite it when people suggest that you should turn your brain off and just enjoy a movie - as if there were a goddamn switch on the thing - but I do often enjoy a movie that doesn’t tax the already deteriorating intellect too much.Ī movie doesn’t have to be an awards contender for us to appreciate it - sometimes a film feels specifically designed for movie night with your sister or your family or a Friday night alone with ice cream and wine. You might simply prefer some light entertainment, a little escapist fun, or something silly and frothy, but that won’t cause permanent brain damage. They’re not what we consider the ten best of the year, but when you’re adding titles to your Netflix queue or picking up something from Redbox on your home, the best movie is not always the one you want to see. Tomorrow, we’ll be unveiling our Ten Best Films of 2009, but before then - as we did last year - we’d like to focus your attention to ten movies of a different ilk.
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