Knowing little about it, I went into my local theater to watch Michael Sarnoski’s directorial debut, Pig. I saw it playing at my local theater, checked out its score on Rotten Tomatoes (97% and 95%), and then looked at the scores assigned by Richard Roeper (4/4 stars) and also the score on Roger Ebert’s website (also 4/4 stars). The movie poster made it look like a backwoods thriller. It was enough for me. I had no idea what the movie was even about. I recall when I saw David Fincher’s Se7en back in 1995. I knew nothing about that film, which is one reason I am still so mesmerized and starstruck by that film. Had I learned more about it, it still would have been a forever classic with me. But there was something about that journey of not knowing anything about it but being completely engrossed by it. The comparison between Se7en and Pig ends there but is a notable mention nonetheless.
Category Archives: Genre
The World to Come (2020)
Hope. Love. Tragedy. Despair. We desire the first pair of words. We dread the second pair. When we experience all five of these emotions in the order presented here, what comes after experiencing despair? Death? Rebirth? Complacency. If the suffering is deep enough, is any coming out of it? Do we even want to? Do we believe that we can find joy again? If we do, will we recognize it? Will we embrace it? In Mona Fastvold’s (The Sleepwalker) The World To Come, we spend 98 minutes with Abigail (Katherine Waterston – Mid90s, Alien: Covenant), a grieving mother who has spent the year before unsuccessfully trying to process her young daughter’s death.
Army of the Dead (2021)
Of all of the movies that have been released since the start of the March 2020 COVID-19 pandemic, Army of the Dead is the one that I Of all the films released since the start of the March 2020 COVID-19 pandemic, Army of the Dead is the one I watched at home that I most wished I had seen in the theater. As I watch this movie a week ahead of A Quiet Place 2 (a movie that should truly signify a return to the movie theaters), I almost wish I hadn’t had the option to watch Zack Snyder’s (Batman v Superman: Dawn of Justice, 300) on Netflix. I intended to go to the theater this weekend to see this film, only to see it sitting there as an option to stream with my Netflix subscription. It was both a blessing and a curse. Free is excellent, as is the ability to play and pause a movie as you see fit. But it is hard to beat the in-theater experience of a film that is supposed to be watched on the big screen.
Breakdown (1997)
Back in his heyday as a leading man, Kurt Russell (The Thing, Escape from New York) had many movies that were massive box-office successes. From 1989 through 1996, he received top billing in five films (Backdraft, Unlawful Entry, Tombstone, Stargate, Executive Decision), earning more than $50 million in revenue. He continued that streak in the highly promoted Breakdown, which garnered $50.2 million while earning critical (81%) and audience (67%) acclaim. Breakdown was a movie I saw opening weekend in the movie theater and one that I hadn’t revisited until 2021. I remember loving it in the theaters. Unfortunately, because there have been so many ripoffs of this movie since that have done this premise better, its rewatch left something to be desired. Unlike his other films mentioned above, Breakdown fails to hold, though it is through no fault of Russell who carries it throughout, just like he does with most of his films.
Taking Chance (2009)
Taking Chance is a tender little movie that most people have probably never heard of, let alone given the inclination to give it a watch. Quietly released by HBO in early 2009, first-time director Ross Katz debuts a gem of a based on actual events movie about a high-ranking marine officer escorting the slain body of a soldier home to his final resting place after the young man was killed in action during Operation: Iraqi Freedom.