2000s
In the first part of Trash Caviar in which Julian Rosenthal inspects the finest of trash, he recalls Nicolas Cage’s off-the-wall character in Bad Lieutenant: Port of Call New Orleans.
In the latest of our Away From the Hype series, we examine Indiana Jones and the Kingdom of the Crystal Skull, to see whether it is deserving of its negative reputation.
The Holiday is expertly crafted wish fulfillment of the highest level, exhibiting the very best of what can be gleaned from such an unabashedly feel-good genre.
After 15 years, Elf is still undeniably a warm and charming Christmas film, still retaining its spot as a holiday favorite.
2007’s The Lookout boasts a talented cast, and manages to be fun while maintaining suspense – it’s a hidden gem that’s worth discovering.
We look back to the 2006 Academy Awards when Brokeback Mountain, a groundbreaking film about two homosexual cowboys, was snubbed for Best Picture in potentially the most controversial decision in Oscar history.
From 2008, French film A Christmas Tale offers a different type of holiday film – one that is melancholy, depressing, and yet also intriguing.
Surprisingly, Saw VI seems to have learned from previous entries; with a plot of its own, it manages to be the stand out of the franchise.
Premiering back in 2004, Saw is a landmark horror film, launching a multitude of sequels in addition to an entire sub-genre of horror.
With Saw V, the Saw franchise firmly waved goodbye to logic, with plot contrivances that make the film closer to sci-fi than horror.
Saw IV goes even bigger than its predecessors, but with the loss of the franchise’s main writer, the story loses much of its oomph.
Despite its great practical effects, the once compelling twists have now become overdone in Saw III and are not as shocking as they once were.
Saw II might not be as strong or as fresh as its predecessor, but it has enough about it that works, making it a guilty pleasure watch.
It’s not one of the horror greats that many people make it out to be, but Saw is crafty and ambitious enough to warrant a horror buff’s time.
In this installment of Take Two, Robb Sheppard reconsiders David Lynch’s Mulholland Drive after a less-than-satisfying first viewing.