Showing posts with label Amber Alert. Show all posts
Showing posts with label Amber Alert. Show all posts

Monday, December 31, 2012

2012 in Film: The Year's "Worst" Films.

Almost to the end, folks.  But before we finally recap the best (or, err, my favorites) of 2012, let's take a pit stop to discuss what are arguably the worst films of 2012.  Now as always, I can't presume that I've seen every probable terrible movie out there (I generally avoid Adam Sandler comedies and didn't catch Parental Guidance in time), but I tried to highlight films that were both very bad and whose respective failures meant something more than just their artistic inadequacy.  As always, the films below are in alphabetical order.  So, without further ado, let's dive in!

Alex Cross:
To William Hurt in A History of Violence, "How to do you f*** that up?!"  You have a long-running detective series filled with larger-than-life villains and often insanely over-the-top violence.  You have Tyler Perry, if perhaps cast against type than at least hungry to prove that he can do something different.  You have Matthew Fox theoretically willing to chew up every bit of available scenery.  And you have audiences primed for a kind of old-school adult-skewing genre picture that the previous two Morgan Freeman-starring Alex Cross films (Kiss the Girls and Along Came A Spider) represented back in the 1990s.  How in the world do you make this film this incredibly boring?  First of all, you take an explicitly R-rated story and neuter it into a still-inappropriate PG-13.  Then you pile on generic cliche on top of generic cliche.  Then you instruct every actor other than Fox to be as lifeless as possible.  Finally, you never decide to make a down-to-Earth crime thriller or a would-be superhero/super villain story.  The end result is a painfully dull would-be thriller that can't hold a candle to the most average episode of Criminal Minds.

Wednesday, November 7, 2012

Review: Amber Alert (2012) should be forced to register...

Amber Alert
2012
80 minutes
rated R

by Scott Mendelson

It is popular to bag on the 'found footage genre' as a whole while ignoring that it's not really a genre.  For better or worse, 2012 is the year that found footage truly became a tool that could be used to tell a wealth of stories in a different fashion.  Found footage, by which the story is told from the point of view of someone videotaping 'as it happens' events, is neither good nor bad.  It is a filmmaking choice that can be applied for good (Chronicle) or evil (The Devil Inside).  But one thing a found footage film must do above all else is present the idea of seeing something interesting.  The low-tech intimacy of video footage filmed as if it were a home movie presents a certain authenticity, as anyone who jumped at the fleeting glimpse of an alien figure stalking a random kid's birthday party in Signs can tell you.  But you have to be in a position to actually deliver on something worth seeing.


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