After a long hiatus, The Cinematic Tangent returns to talk some of the noteworthy films of 2016.
It’s 2017, and the year already sucks. Because Donald Trump is President.
After a lengthy apology for The Cinematic Tangent’s unreleased blogs and lost episodes, Brad and Chad start the year fresh by discussing a couple of films sure to earn Oscar buzz – A Monster Calls and Silence. And one that won’t – Live By Night.
The Cinematic Tangent finally sits down to talk Peter Jackson’s Lord of the Rings trilogy and J.R.R Tolkien’s Middle-earth.
I usually avoid Will Ferrell comedies like the plague – visions of the god-awful Old School dance in my head. But Elf is the exception to the rule, partially because Will Ferrell’s inherently odd brand of visual comedy lends itself well to a director like Jon Favreau, who is nothing short of a master when it comes to conjuring genuine displays of sentiment.
When you mix the steady hand of Favreau with the shameless comedy of Ferrell, the end result is something absurdly funny and bizarrely warm, which is a surprise for a film that seems to be so open and honest about the asinine nature of its premise. Buddy (Ferrell) is an orphaned human raised by elves in Santa’s North Pole, blind to the truth of his origin. It’s a concept that, on its face, is worthy of only ironic laughter. But, thanks to Ferrell’s unwavering dedication to the role, I buy into it every time I watch it – even though I know I know it’s all a joke. Continue reading ‘Elf’ – 12 Days of Christmas Movies
Despite technical difficulties (sorry!), CinTan talks Hell or High Water, Demolition, Kubo and the Two Strings, and more.
The film opens on the unsettling scene of an unconscious girl being dragged down the street by her hair; the surrounding scenery shows the cracked sidewalks and overgrown backyards of an abandoned neighborhood somewhere in the suburbs of Detroit. It’s a brilliant hook, one that sets an intense tone for the unnerving home-invasion flick that follows.
The story focuses on three down-on-their-luck millennials (Jane Levy, Dylan Minnette, and Daniel Zovatto) who have taken up burglary in hopes of stealing enough to start a new life. Despite targeting a blind Gulf War veteran (Stephen Lang), the trio are instantly sympathetic due to the extreme nature of their personal circumstances, coupled with an effort to preserve life during the course of their criminal activities. In a strange way, writer/director Fede Alvarez (Evil Dead) is able to paint them as underdogs worthy of our support – a feeling that is later confirmed when the blind vet becomes a hulking psychopath, murdering one of our heroes with his bare hands. Continue reading Review: ‘Don’t Breathe’
With Don’t Breathe hitting theatres, Brad and Chad look back at some of the notable horror films from this year – The Witch, Green Room, and The Forest.
In a brilliant opening laden with dark comedy, a man looks out at the ocean as he struggles to kill himself with a necktie, haplessly unable to get the job done. Luckily, the corpse of a well-dressed man washes up onto the beach, releasing a series of nasty farts to prove he’s dead. It’s then that our protagonist robs the cadaver of its belt and moves to continue his suicide attempt – the scene is hilarious, sad, and intriguing. And it was the first and last moment of Swiss Army Man that I found the least bit interesting. Continue reading Review: ‘Swiss Army Man’
Catching up on some of best and worst that 2016 cinema has to offer, from the brand new Ghostbusters to the farting prank known as “Swiss Army Man”.
The Cinematic Tangent talks Duncan Jones and his complete filmography: Moon, Source Code, and Warcraft. What was the name of Chad’s World of Warcraft character? Who is Buttbong420? Zub-Zub? And is Duncan Jones a good director? The Cinematic Tangent answers these questions – and more (maybe)!