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If you don't think you're an asshole (at least sometimes), you're wrong

This video is a bit crude, simplistic and generalized, but I don't think you're being honest with yourself if you don't find a modicum of truth in it. What's more, quality humor finds a way to be real about our misgivings whether we like it or not, so kudos to College Humor for reminding us that we're all, at some point or another, an asshole.

Photo: Sudospeak.com

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Oscar winners Whiplash and Big Hero 6 now on Blu-Ray

Many of us can remember teachers who pushed our limits to help make us our best. They believed in us, stirred our passions, and taught us to see past our self-imposed limitations. In “Whiplash,” whether or not Fletcher (J.K. Simmons), the most feared and revered instructor/conductor at a prestigious music academy is that type of teacher to young drummer Andrew (Miles Teller) is up for debate.

The core of Fletcher’s method comes from a story about how jazz legend Charlie Parker became a great saxophone player when Jo Jones, drummer for the hugely popular Count Basie Orchestra, threw a cymbal at Parker’s head (it was actually his feet by some counts, and stories like this get embellished quite often). Fletcher is looking for his Charlie Parker.

He does this by keeping constant pressure on his pupils. His methods aren’t just mental and emotional, they’re also physical. Though instead of throwing cymbals, Fletcher throws chairs. He pushed his drummers to play to the tempo he has inside of his head until their hands literally bleed. The question is: Does this man really have a tempo that his students are not performing, or is he doing all of this to push them, test their limits, and see who quits and who carries on?

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Late night host Kimmel stops by to offer congrats and ask for a few favors

This was probably recorded a few days before the Oscars, but it plays well regardless. It's a shame that Kimmel's post-Oscars show is on so late, as it's arguably the best one he does all year.

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Birdman takes picture, director and original screenplay; Boyhood wins only one award

The show ran a good three and a half hours, but it was entertaining and the awards were spread around. No major upsets, unfortunately -- that always does make things better. Here's my viewing log:

8:37 - Host Neil Patrick Harris nails the opening musical number, written by Kristen Anderson-Lopez and Robert Lopez, who won an Oscar for writing Frozen. And from a technical standpoint, very impressive and inspired work with rear projection and choreography. And for good measure, NPH takes a shot at his own work by ripping on The Smurfs 2.

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Sequel to the 2010 hit flat-out sucks

Is it worth $10 – NO!

After seeing this movie, one wonders if the filmmakers of “Hot Tub Time Machine 2” would have gotten black-out drunk in a time machine and gone back to a time before production of this sequel started and put the kibosh on the whole thing. Audiences certainly would have benefited and not had their time wasted. While the original film was an unexpected hit with plenty of heart and laughs, the sequel offers nothing more than crude and unfunny penis jokes and a nonsensical “storyline” that serves only to piece together unrelated segments.

The story is that Lou (Rob Corddry, in an undeserved leading man role), after exploiting his knowledge of the future in the past, is shot in crotch during a gala. Nick (Craig Robinson, one redeeming aspect of the film) and Jacob (Clark Duke) slip him in the hot tub time machine to try to go back and prevent the murder. However, they end up in the future, which Jacob explains is not actually the future of our current timeline but the past of an alternate timeline. Like “Fringe.” John Cusack’s character, Adam, is mentioned throughout but (due to what can only be explained as the actor’s rightful desire to stay far away from this project) is never seen. The gang thinks that he holds the key to Lou’s murder and, while searching for him, meet Adam’s son Adam (Adam Scott, the other redeeming aspect of the film).

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Kevin Costner's latest white savior is wonderfully ignorantly racist

Is it worth $10? No

"McFarland, USA" is the story of the 1987 McFarland High School cross-country team. It's also another movie with the overused white-person-meets-minorities template that hasn't felt original since 1987. Yes, that's right. Disney finally did it. They made a movie that is about both racing and races. Touché, Disney.

Upon befriending the Native-Americans in "Dances with Wolves" (1990), it seems Kevin Costner has been given the role of white man's ambassador to minorities in numerous race-themed films. It was only a month ago that he was quarreling with African-Americans in "Black or White." In this film, he's diving head first into Mexican-American culture.

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Behind-the-scenes doc of the NYC Ballet is oddly bereft of artistry

Is it worth $10? No

In 2013, an entry-level dancer with the venerable New York City Ballet was afforded the opportunity to choreograph the 422nd new dance piece for the company. "Ballet 422" is director/cinematographer Jody Lee Lipes' document of 27 year-old Justin Peck's process.

The film opens with a pleasant shot down a dark studio corridor, and the only sounds are ambient. Several female dancers in their pointe shoes clip-clop away toward the rehearsal area.

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Want to be a film critic?

"How do I become a film critic?" is one of the most common questions film critics receive. Here's the best answer I can give you.

1) Don't do it. It's a job of constant pressure, unrelenting deadlines, often little pay and even less gratitude. And think about all the crap you have to sit through ("Sex Tape") -- it's not just about getting to see "The Avengers 2" before all your friends.

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