Movie Postmortem # 4: Licence To Kill

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by John S

Movie Postmortem is a monthly series that reviews certain films which showed promise but misfired (critically and/or commercially) upon initial release. Join us in our attempt to find out exactly what the hell happened.

The Casualty: Licence To Kill

The Case History: Summer 1985. James Bond is doing well at the box office, despite practically being of retirement age. A View To A Kill, the 14th entry in the durable series, stars Roger Moore in his 7th outing as 007. Moore half-jokes that he needs to step down because, at 57, he is actually older than his latest Bond Girl’s mother. Everyone, including him, knows he’s right.
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If Thou Gaze Long Into The Polar Express: A Review

polar-express

by Xoe Amer

The logic is nightmarish. The animation achieves Freudian-levels of uncanny. They’ve got hot chocolate.

A Brief, Incredulous Summary:
A boy who has become disillusioned about Christmas is coerced by a train attendant to board a magical train that appears outside his house to visit Santa Claus at the North Pole.

This film has a joke in which a scream of pain is the punchline.

This is a film in which Tom Hanks talks to himself in different voices.

In order to make use of gratuitous 3D animation, a mama eagle feeds its baby eagle literal TRASH.
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Bourne Again…Again

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by John S

With the recent release of Jason Bourne on home video, now’s the perfect time not only to review the angst-ridden, memory-challenged CIA assassin’s latest thrill ride, but also to take a stroll down cinematic memory lane and explore the genesis of the Bourne franchise, which has had a significant impact on the Action, Thriller, and Spy genres and some of their franchises. Not to mention sales of Dramamine (Heeeeeello, Shaky Cam). Read More

The Winter of Our Discontent: Joel & Ethan Coen’s Fargo

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by Ryan Swen

The various films of Joel & Ethan Coen have as many similarities as differences, pinwheeling freely through genres, locations, and time periods with abandon. But curiously, only two of their films have taken place during wintertime: Inside Llewyn Davis and perhaps their signature film, Fargo. The two share little in common aside from the signature Coen Brothers wit and the fact that they are among the most acclaimed of the duo’s films—one is centered around a kidnapping and murder investigation in 1987 Minnesota, featuring two protagonists, while the other follows a single folk singer in 1961 New York over a variety of misadventures—but the climate seems essential to both. For the Coen Brothers, winter doesn’t represent holiday cheer, but rather bitterness and the unknown. Their standard fatalism is only amplified in the fields of snow, and the folly of men becomes ever more apparent. Read More

SHRIEK Women of Horror: Black Christmas

black-christmas

by Evan J Peterson

This Sunday, join us for our SHRIEK holiday party at Naked City Brewery in Greenwood for Black Christmas! This 1974 Canadian horror film helped start the slasher film trend in North America, but there’s a lot more to it than there is for most of its knockoffs. Come for the drinks and the Babeland gift bags, stay for the horror film and the community discussion.

Tickets available here.

Stats on Black Christmas (1974)

Country of origin: Canada

Director: Bob Clark

Writer: Roy Moore

Major actors: Olivia Hussey, Margot Kidder, Andrea Martin, Keir Dullea, Jon Saxon

Score: Carl Zittrer

Nudity: none

Sexual Assault: obscene threats via phone

Gore: minimal

Major Protagonists: female

Villains: Male

Does it pass the Bechdel-Wallace test? Yes! Read More