As hypnotic as director John Shear’s feature debut often is, it’s also a jumble that doesn’t quite add up to a satisfying whole. Yet it encapsulates the fear that something wild is lurking just beneath a city’s urbane facade, and that safety is merely a cruel illusion.
They just don’t make ’em like this classic anymore. So what’s new in this year’s model? A digitally remastered soundtrack and 11 minutes of additional footage deliver a mixed bag of blessings and curses. And though it may not have the shock value it had in 1973, the horror remains.
A lobotomized Scream 2 with a twist, Frankensteined together from ripped-off plots, characters and sets. First-time director John Ottman confuses climax with a burst of frenetic action that verges on the comic. He’s no Hitchcock.
Boxing movies traditionally focus on an underdog getting a shot at something better, and while director Karyn Kusama doesn’t stray far from this conventional story line, her film is radical and not because the pugilist is female. Here’s a sports movie that isn’t about winning.
Director Boaz Yakin’s earnest, based-on-a true-story portrait of the 1971 high school football season, when a newly integrated team set an example for segregated Alexandria, Va. — with Denzel Washington.
Sound makes movie magic, suggesting place, time and mood. This weekend, the three-man Alloy Orchestra makes that magic live, hammering it from found objects and electronics as it accompanies three silent classics: Metropolis, Nosferatu and South — an experience not to be missed.