Phil Alden Robinson, who wrote and directed Field of Dreams and Sneakers more than 20 years ago, is back behind the lens after a 12 year hiatus (his last film was The Sum of All Fears) . This time around, he’s helming The Angriest Man in Brooklyn and the question you have to ask yourself is what was it about this film that drew him out of seclusion?
Maybe it was the cast? Led by Robin Williams (in a non-bearded role so the general assumption is this is a comedy) and supported by Peter Dinklage, James Earl Jones and Mila Kunis, a cast like that might have piqued his interest. Williams always has potential, Kunis looks pretty and Dinklage is incredibly hot at the moment. Jones doesn’t really count since Robinson tends to cast him in everything he does, almost like a good luck talisman. Continue reading
I’ll be honest, I’ve been dying to see the Knights of Badassdom since I first about it. I mean, seriously, what’s not to love? It’s got Peter Dinklage, Steve Zahn, Danny Pudi, Joshua Malina and Summer Glau with Ryan Kwanten in a lead role and Tom Hopper as a completely over the top gamer. There is enough geek cred here to make a Wil Wheaton blog post jealous and the trailer was just over the top enough to keep my interest piqued.
Categories: Films, Reviews
Tags: Danny Pudi, horror, Joshua Malina, Knights of Badassdom, LARP, Margarita Levieva, monster movies, peter dinklage, Ryan Kwanten, steve zahn, summer glau, Wil Wheaton
Frank Oz is a funny man. He’s also a very smart man. In his latest directorial effort, the man who brought us films like Dirty Rotten Scoundrels and In & Out, combines these two traits and brings us Death at a Funeral.
Death at a Funeral, which covers the afternoon funeral of the family patriarch at his English home, is a light, laugh-filled film which never strays too far from the general concept that funny should not be diluted with a deep message. Not to say Oz and writer Dean Craig don’t have an agenda or a point of view, they do, but they understand what makes those points of view funny. Mostly, Oz just lets the film breathe. He doesn’t rush the moments, instead, letting them build on their own energy until his audience finds the humor. True, sometimes that humor comes from uncomfortable places, but hey this is a film about dead people. Continue reading