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Review: 'Mad Men' Returns With A Confident 2-Hour Premiere That Proves It's Still The Best Show On TV

  • By Cory Everett
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  • April 7, 2013 11:00 PM
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  • 16 Comments
At this point, few would argue that "Mad Men" doesn't deserve to be listed as one of the greatest television shows of the modern age, but what not many have considered until now (perhaps for fear of jinxing it) is that if it continues to be as strong as it has been, it may just top them all. Now entering its sixth season, fans of the show have been holding their breath wondering if creator Matt Weiner and co. can possibly keep this up. After all, not many shows have been able to maintain this kind of quality and consistency this far into their run. Even hall-of-famers "The Sopranos" and "The Wire" started to falter a bit by season 5, but so far "Mad Men" hasn't lost a step.

Review & Recap: ‘Game Of Thrones’ Season 3 Begins To Coalesce With Episode 2 'Dark Wings, Dark Words'

  • By Katie Walsh
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  • April 7, 2013 7:05 PM
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  • 5 Comments
Joe Dempsie, Ben Hawkey and Maisie Williams in Game of Thrones
After episode one, "Valar Dohaeris," reminded us of what half of our Seven Kingdoms are up to in “Game Of Thrones,” episode two, “Dark Wings, Dark Words,” catches us up with the remaining characters not featured in the inaugural episode and moves the story forward in a more decided fashion, introducing new, significant characters and teaching us a bit more about some of the more mysterious aspects of story.

Review: It Might Not Be Journalism, But You Won't Find The Stories On 'Vice' Anywhere Else

  • By Kevin Jagernauth
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  • April 5, 2013 5:18 PM
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  • 2 Comments
Ah, Vice. The once long ago irreverent little zine out of Montreal and has grown into a globe spanning empire, with offices around the world, and an online presence that has expanded far beyond their still free, glossy monthly magazine. And while they may still be snarked at for their ongoing Dos & Don'ts, stunt like "reporting" which sometimes is as sophisticated as someone taking drugs and then writing about it (an approach spoofed by Lena Dunham on "Girls") and general tendency to stick to the kind of off-the-cuff, fratboy humor that made their name, if you look closer, they've matured considerably.

Review: 'Tomorrow You're Gone' A Stylized Neo-Noir That Goes Nowhere Slowly

  • By Gabe Toro
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  • April 5, 2013 11:00 AM
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  • 0 Comments
It’s exceptionally strange to be reviewing a film so soon after the passing of Roger Ebert. Surely he’s the reason why most of us write reviews, why we’ve ever felt the need to tap our keyboards once the end credits begin to roll. We love and admire the deep thinkers who favor academic readings of film, but we really want to be Ebert, brimming with humor and personality, able to succinctly describe the most complex concepts for audiences of all persuasions. I wonder exactly what Ebert would have made of “Tomorrow You’re Gone,” a low-budget, low-temperature noir with direct-to-DVD production value, but nonetheless hitting movie screens this Friday.

Review: Danny Boyle's 'Trance' Is A Trippy, Twisty, Terrific Thriller

  • By Oliver Lyttelton
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  • April 5, 2013 10:00 AM
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  • 10 Comments
Trance, Rosario Dawson
He might have had a rockier patch in the mid-'00s -- no one saw his delightful fable "Millions," and sci-fi "Sunshine" was both a commercial disappointment and the most difficult shoot of his career -- but things couldn't have gone much better for Danny Boyle in the last few years. "Slumdog Millionaire" was a global hit and an Oscar sensation, winning a golden statue for Boyle himself, while follow-up "127 Hours" was equally well-received, and picked up another Best Picture nod. Furthermore, he oversaw the triumphant opening ceremony of the London 2012 Olympics, a glorious, inventive and moving pageant that cemented his status as a beloved national hero. So where could he possibly go from there?

Review: 'Simon Killer' Loses That Lovin' Feeling On The Streets Of Paris

  • By William Goss
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  • April 5, 2013 9:02 AM
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  • 0 Comments
Simon Killer
Simon (Brady Corbet) is lost. After being dumped by his high school sweetheart after a relationship that ran the length of their college years, the newly graduated, newly single American flees to Paris to get away from it all and find himself. Of course, the problem with undertaking such a journey of self-discovery is assuming that one will like what they find…

Review: Shane Carruth's Beguilingly Enigmatic 'Upstream Color' May Cause Disorienting Side Effects, Results Will Vary

  • By Rodrigo Perez
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  • April 4, 2013 7:32 PM
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  • 3 Comments
Upstream Color, Amy Seimetz
Nine years ago, autodidact filmmaker Shane Carruth burst onto the indie scene with the abstruse and complex sci-fi thriller "Primer," which made him a Sundance darling in 2004 when it won the Grand Jury Prize and went on to become a cult hit. The polymath writer, director, actor, musician, editor, producer, et al. stayed mostly quiet during this time, working fruitlessly on a still-unproduced film called "A Topiary" and helping out Rian Johnson with the time-travel sequences in "Looper."

Review: 'Evil Dead' Is A Grim, Humorless, Ultraviolent Update Of A Horror Classic

  • By Cory Everett
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  • April 4, 2013 6:56 PM
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  • 2 Comments
When the "Evil Dead" remake was first announced, everyone pretty much assumed that it was going to suck. This was something that star/producer Bruce Campbell acknowledged during the Q&A at the film's SXSW World Premiere last month. But after years of being assaulted with fan questions about a fourth installment, the trio behind the original (Campbell, writer/director Sam Raimi and producer Robert Tapert) probably felt it was their duty to give the fans what they wanted. And since they perhaps felt they were getting a little old for another go-round themselves – it's been 20 years since the third and previously final installment "Army Of Darkness" – a remake/reboot/"rebirth" must have seemed really the only way to go.

Review: 'Thale' Is A Half-Finished Spooky Fairy Tale

  • By Gabe Toro
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  • April 4, 2013 5:59 PM
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  • 0 Comments
There’s usually a handshake agreement made by audiences with genre filmmakers eager to make an impression: If your first act is fantastical, intriguing and mysterious, then don’t botch it with an overly technical, low-imagination third act explanation. This sort of misstep has dogged big budget mishaps like “Prometheus” and even smaller, lovelier films like Neil Jordan’s almost-but-not-quite “Ondine,” and it manifests itself again in the meme-worthy Norwegian chiller “Thale.”
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Review: Robert Redford's 'The Company You Keep' Is An Unconvincing Bit Of Agitprop

  • By Simon Abrams
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  • April 4, 2013 4:58 PM
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  • 1 Comment
The third film in Robert Redford’s recent series of stillborn, bleeding heart dramas, "The Company You Keep" is a busy but inert civic-minded thriller. As a director, Redford has yet to break his recent habit of using hackneyed dialogue to talk down to his audience with Aaron Sorkin-esque dialogue that authoritatively spells out his talking points. But unlike "Lions for Lambs," an impressively incensed civics lesson that thinks it’s a drama, "The Company You Keep" is too cool of a film to be admired for its creator’s chutzpah alone. In fact, it’s probably the most frustrating of Redford’s recent films because it has a pseudo-contemplative atmosphere to it, one that superficially begs viewers to reflect upon how far they would go for their convictions. Political apathy is the real enemy in "The Company You Keep," making it pitiably ironic that Redford’s latest is as unmoving as it is.

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