It’s strange to behold a CG-animated film that leads with a swift pace and can manage to unfurl a laborious morale without grinding the whole production to a halt. “Kung Fu Panda” is a real charmer; a lightweight, generously funny family film that benefits from simplicity and a buffet of Asian cinema influences to pick from.
If there’s any filmmaker working today who defines the concept of “an acquired taste,” it would certainly be Dario Argento. Floundering in the industry for the last 20 years, Argento finally arrives to complete his “Three Mothers” trilogy that was last heard from with 1980’s baffling “Inferno.” It’s a blood-soaked homecoming of sorts for the director, and “Mother of Tears” reawakens his mischievous spirit. It’s pure insanity, but it’s a welcome restoration of Argento’s once Kong-sized chutzpah.
“Mongol” is looking to call its own shot with big, wet cinematic brush strokes of epic storytelling, blood-spattered violence, heroic romanticism, volatile brotherhoods, tragic childhood trauma, historical leanings, and animalistic mysticism. After two excruciating hours watching the film, I will say it’s all very epic. It’s like watching paint dry, but still epic.
Over the last year, when I would explain to people that I was planning to move to Florida, the news would always be met with a viciously sour/puzzled reaction, as though I just proclaimed my love for “McMillan & Wife” reruns.
I’ve come to learn that people are greatly bothered by Florida.