Nearly 45 years after John Carpenter’s original, Halloween Ends, the final chapter in the Michael Myers saga makes its way to theaters and Peacock this weekend. Director David Gordon Green’s (“Stronger,” “Halloween“) trilogy has been brilliant at bringing characters from the original film and initial sequels into the forefront. Still, it has fallen short in creating […]
The Unbearable Weight of Massive Talent is a curious mixing up of reality and fantasy, though mostly fantasy. It seems that writer (with Kevin Etten) and director Tom Gormican intended to make a spoof of Nicholas Cage and his movies by weaving in and out of both in a multi-layered piece that oftentimes uncannily mirrors Cage’s
There are no “do-overs” in life, so why should horror movies be the exception. This new version ignores decades of other sequels that feature Michael Myers, positioning itself as a direct sequel to the original. I guess it took them 40 years to get it right? David Gordon Green (“Stronger”) is the director behind the
Another film I caught last week at the Toronto International Film Festival was Oscar nominated Jake Gyllenhaal’s new film. It seems like every year there is a Gyllenhaal vehicle, that’s supposed put him back in trophy contention. He might get his second nod for Stronger, but compared to his overlooked masterclass performances in “Prisoners” or
The first thought in my head is that writer/director David Gordon Green’s Manglehorn is better than his last SXSW film, Joe. Al Pacino also gives one of his best performances in a long while; I would have to go all the way back to Insomnia to find a time when I enjoyed him this much.
Nicholas Cage might not approve of the word comeback, but after taking a year off and delivering a string of commercially and critically unsuccessful films the former action star returns to his independent roots. Director David Gordon Green (Pineapple Express, All the Real Girls) also looks back upon his beginnings with Joe, which takes a
Emile Hirsch and Paul Rudd are two darkly funny actors who have joined together for a new kind of film with director David Gordon Green, who appears to be retreating to his independent roots. Green’s films (Pineapple Express, All the Real Girls) are almost always about immaturity on some level, none more so than the