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thedullwoodexperiment

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Tag Archives: Alison Brie

A Family Man (2016)

25 Sunday Jun 2017

Posted by dullwood68 in Movies

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Alison Brie, ALL, Blackridge Recruiting, Chicago, Drama, Father/son relationship, Gerard Butler, Gretchen Mol, Headhunting, Mark Williams, Max Jenkins, Review, Willem Dafoe

Original title: The Headhunter’s Calling

D: Mark Williams / 108m

Cast: Gerard Butler, Gretchen Mol, Alison Brie, Anupam Kher, Max Jenkins, Alfred Molina, Willem Dafoe, Mimi Kuzyk, Dustin Milligan, Julia Butters, Dwain Murphy, Ethan MacIver Wright

Dane Jensen (Butler) is a tough, no-nonsense headhunter who uses a mixture of insider knowledge, sharp practice and carefully orchestrated bullying to get the sales figures he needs; everyone he successfully finds employment for earns his company, Blackridge Recruiting, a five-figure sum. His boss and mentor, Ed Blackridge (Dafoe), informs Dane and his main rival, Lynn Vogel (Brie), that he’s taking a step back from running the company, and his successor will depend on which one of them is the more successful in the forthcoming financial quarter. Dane is the better headhunter, and heading into the quarter has no doubts that he will take Ed’s place.

But while Ed is all-conquering at work, at home it’s a different matter. His wife Elise (Mol), would like Dane to be home more, as would his kids, Ryan (Jenkins), Lauren (Butters), and Nathan (Wright). But Dane is committed more to his work than he is to his family, and he continually makes excuses for getting home late and/or missing events in his children’s lives. The only promises he can’t seem to break or those that he makes to his clients, such as engineer Lou Wheeler (Molina). However, Dane’s outlook on life and his commitment to Blackridge begins to derail when Ryan is diagnosed with ALL (Acute Lymphoblastic Leukemia). Faced with losing Ryan if his treatment fails, Dane spends more and more time with his son but to the detriment of the sales target he needs to reach to step into Ed’s position. As he struggles to come to terms with his son’s illness and his declining fortunes at work, Dane has to decide which is more important: his family, or providing for them.

If you decide to watch A Family Man, then be prepared to enter a world where lots of things happen that don’t happen in the real world. Now, of course, A Family Man isn’t based on a true story (not that it would matter), and it’s not a movie that’s set in a far-off fantasy world where dragons lurk over the next hillside, or wizards in pointy hats loiter in the local tavern. But its story does take place in an alternate reality, one that looks and feels just like the real world, but it’s also one that gives itself away from time to time as being wholly imaginary. It’s on these occasions that the movie, and Bill Dubuque’s saccharine-drenched screenplay, give the game away, and as a result, any suspension of disbelief disappears in an instant. And it’s a shame, as the movie didn’t need to be created in this fashion, and if the makers had excised all the otherworld trappings, then it might have stood a better chance than it does in its current form.

It’s a familiar story, told with a smattering of charm and a large amount of pontificating. Dane is the classic absent husband, too hooked up on the importance and the power he has at work to notice his home life slipping away from him. There’s always one more phone call to take, one more employer to call and cajole into taking on a client, one less occasion to spend with his wife and kids. He tries to justify his behaviour, his absenteeism, by spouting that he’s doing it for his family, as if they should be grateful that he’s becoming less and less of a presence in their lives. But the script isn’t satisfied with just having Dane dressed up in Hugo Boss and seeing life with blinkers on. He has conversations with Elise where he wonders about the bigger questions in life: is there more to everything than work (yes), how do you know if you’re happy (you just know), and why should it take forty minutes to ejaculate (ah, you’re too stressed?). It’s okay that Dane’s not just a lean, mean recruiting machine, but the script’s idea to make him seem more rounded as a character is laughable and obtuse.

But with the arrival of Ryan’s cancer, the movie abandons any attempt at investigating Dane’s interior life, and instead, takes us on a journey into the alternate reality already mentioned above. This is a world where a child’s desire to be an architect when they grow up leads to Dane and Ryan visiting five famous Chicago landmarks, and Dane being able to recite facts about each one with confidence and precision. Dane appears able to skip work whenever he needs to in order to make these trips, and the hospital where Ryan is being treated seems remarkably unconcerned about them (one of Ryan’s main symptoms is generalised weakness and fatigue; wouldn’t these trips be detrimental?). A phone call between Dane and Lou sees Lou try to act as Dane’s counsellor when he doesn’t even know him. And then there’s Ryan’s doctor, an oncologist (Kher), whose bedside manner includes kissing Ryan’s hand at one point (yeah, that probably happens all the time).

There are further examples as the movie grinds mercilessly towards the kind of sugar-coated resolution that is meant to extract copious amounts of tears from its audience, but which in reality (yes, the real reality), is likely to encourage groans and unforced laughter. It’s all topped off by an unlikely last-minute piece of character reversal that only happens in the movies, and which even the most forgiving of viewers will find ludicrous/ridiculous/silly (delete as appropriate). Through it all, Butler at least plays it straight, even when the absurdity of some scenes seems written in letters forty feet high, and he’s backed by Mol whose role as Elise is undermined by the character’s yo-yoing back and forth between castigating Dane and supporting him. Dafoe’s role is nothing more than a recurring cameo, Brie is wasted, Molina has perhaps the movie’s best moment – in a bathroom, and the rest of the cast orbit around Butler until told what to do. Directing for the first time, Williams lacks the necessary experience to overcome or iron out the script’s inherent problems, and there are too many times where his direction brings out the commonplace rather than anything that might raise the material above the level of acceptable.

Rating: 4/10 – adequately done, A Family Man won’t stick around in the memory, but while you’re watching it, it will make an impact, albeit an unfortunate one; laden with too many moments and scenes that are hellbent on manipulating its audience’s emotions, the movie has all the hallmarks of a glossy disease-of-the-week TV movie, but with a bigger budget, a better known cast, and more time to drag out its increasingly implausible narrative.

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Monthly Roundup – April 2016

30 Saturday Apr 2016

Posted by dullwood68 in Movies

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Tags

Action, Adam Pally, Alison Brie, Amy Adams, Anneke Wills, Claire Forlani, Claude Alexander, Clive Donner, Comedy, Countdown (2016), Crime, Cruel Intentions 2, David Hemmings, Dolph Ziggler, Dougray Scott, Drama, Duke of Edinburgh scheme, George Archainbaud, Gig Young, Horror, Hunt the Man Down, Jo Maryman, Katharine Isabelle, Kenneth More, Larry Buchanan, Libby Hall, Love's Kitchen, Luchenboch Witch, Lynne Roberts, Manchester Prep, Mary Anderson, Mexico, Murder, Musical, Nudity, Public defender, Ray Brooks, Review, Robert Short, Robin Dunne, Romance, Romantic comedy, Scot Armstrong, Search Party, Seven witnesses, Sex, Some People, T.J. Miller, Texas, The Boot, The Naked Witch, Thomas Middleditch, Thriller, Wedding day, Willard Parker

Cruel Intentions 2 (2000) / D: Roger Kumble / 87m

Cast: Robin Dunne, Amy Adams, Sarah Thompson, Keri Lynn Pratt, Barry Flatman, Mimi Rogers, David McIlwraith, Clement von Franckenstein, Jonathan Potts

Cruel Intentions 2

Rating: 5/10 – a young Sebastian Valmont (Dunne) transfers to a new school and encounters the Machiavellian Kathryn Merteuil (Adams), leading to a rivalry that will last the rest of their lives; a prequel to Kumble’s PYT version of Dangerous Liaisons, Cruel Intentions 2 is enjoyable on a guilty pleasure level, and is full of moments where the viewer will ask themselves, Did they just do/say that?, but it’s still not enough to hide the cracks in the narrative or the paucity of some of the performances.

Countdown (2016) / D: John Stockwell / 90m

Cast: Dolph Ziggler, Glenn “Kane” Jacobs, Katharine Isabelle, Josh Blacker, Alexander Kalugin, Michael Kopsa, Alan O’Silva

Countdown

Rating: 3/10 – when a disaffected Ukrainian straps a bomb to a young boy and then dies before revealing the boy’s whereabouts, it’s up to maverick cop Ray Fitzpatrick (Ziggler) to save the day – and whether his bosses like it or not; another WWE DTV movie that abandons crdibility from the word go – watch out for Fitzpatrick’s one-man storming of a Russian consulate – Countdown is hard-going rubbish that only has Cliff Hokanson’s crisp cinematography to recommend it.

Love’s Kitchen (2011) / D: James Hacking / 93m

Cast: Claire Forlani, Dougray Scott, Lee Boardman, Peter Bowles, Michelle Ryan, Matthew Clancy, Holly Gibbs, Simon Callow, Seretta Wilson, Cherie Lunghi, Caroline Langrishe, Gordon Ramsay

Love's Kitchen

Rating: 4/10 – following the tragic death of his wife, top chef Rob (Scott) loses his way until he takes over a small village pub, and with the help of food critic Kate (Forlani), attempts to regain the flair and the passion that made him such a good chef; a lightweight romantic comedy that breezes through its own running time as nonchalantly as possible, Love’s Kitchen is, in cooking terms, like a soufflé that hasn’t risen: still edible but nowhere near as enjoyable if it had turned out as planned.

The Naked Witch (1964) / D: Larry Buchanan, Claude Alexander / 59m

Cast: Jo Maryman, Robert Short, Libby Hall

The Naked Witch

Rating: 2/10 – a student (Short) of German folklore arrives in a small Texas town and unwittingly awakens the ghost of a witch (Hall) bent on revenge on the descendants of those who put her death three hundred years before; Buchanan’s first low-budget exploitation movie is low on incident and big on padding – check out the ten-minute prologue – but does earn a point for a strange, hypnotic vibe that develops once the witch is resurrected.

Hunt the Man Down (1950) / D: George Archainbaud / 69m

aka Seven Witnesses

Cast: Gig Young, Lynne Roberts, Mary Anderson, Willard Parker, Carla Balenda, Gerald Mohr, James Anderson, John Kellogg, Harry Shannon, Cleo Moore, Christy Palmer

Hunt the Man Down

Rating: 6/10 – when a man (Anderson) is caught after twelve years on the run from a murder trial, his public defender (Young) investigates the original crime, and learns enough to believe that the man is probably innocent; a minor noir, Hunt the Man Down has plenty of double dealings in a plot that doesn’t always make sense but is enjoyable enough on its own terms.

Some People (1962) / D: Clive Donner / 93m

Cast: Kenneth More, Ray Brooks, Anneke Wills, David Andrews, Angela Douglas, David Hemmings, Timothy Nightingale, Frankie Dymon

Some People

Rating: 7/10 – a group of teenagers aiming to start a band find an ally in a local choir master (More), but along the way have to contend with internal rivalries and the problems inherent in growing up; as much an historical record of the times – Bristol, England in the early Sixties – Some People features a slew of raw performances but is only occasionally as dramatic as the story requires, leaving the viewer to wonder what all the fuss is about.

Search Party (2014) / D: Scot Armstrong / 93m

Cast: Adam Pally, T.J. Miller, Thomas Middleditch, Shannon Woodward, Alison Brie, J.B. Smoove, Octavio Gómez Berríos, Maurice Compte, Lance Reddick, Krysten Ritter, Jason Mantzoukas, Rosa Salazar, Jon Glaser

Search Party

Rating: 5/10 – when one of his best friends, Evan (Miller), ruins his wedding day, Nardo (Middleditch), follows his fianceé to Mexico in order to win her back, while Evan and his other best friend, Jason (Pally), end up heading across the border as well to help him out after he’s carjacked; a passable comedy that tries too hard one moment and then hits the comedic nail on the head the next, Search Party isn’t particularly memorable but if you’re in the mood for an easy watch, this will definitely do the trick.

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Get a Job (2016)

27 Sunday Mar 2016

Posted by dullwood68 in Movies

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Tags

Advertising, Alison Brie, Anna Kendrick, Bryan Cranston, Christopher Mintz-Plasse, Comedy, Dylan Kidd, iStalkYou, Job hunting, Marcia Gay Harden, Miles Teller, Review, Teaching, The Decision Maker, Videos

Get a Job

D: Dylan Kidd / 83m

Cast: Miles Teller, Anna Kendrick, Bryan Cranston, Nicholas Braun, Brandon T. Jackson, Christopher Mintz-Plasse, Marcia Gay Harden, Alison Brie, Jay Pharaoh, Bruce Davison, Cameron Richardson, Greg Germann, Jorge Garcia, John C. McGinley, Seth Morris, John Cho

Be yourself. The movies are always telling us to be ourselves. If we do that then the world is our oyster, and we can achieve anything. But what if your name is Miles Teller? What if, back in 2014 you appeared in a movie called Whiplash, and right at that moment when the world was your oyster and you were on the brink of achieving anything, what would you do next? Would you capitalise on the recognition you’ve received as a dramatic actor and use it to land bigger, better roles? Or would you continue making comedies (romantic and straightforward), or would you try something a little different?

Since Whiplash, Teller’s cinematic output has been patchy at best. He’s appeared in all three Divergent movies (albeit in a supporting role), a romantic comedy, Two Night Stand (2014), an out-and-out comedy, That Awkward Moment (2014), and some superhero movie it’s best not to talk about. Later this year he’ll be back on funny man duties with Jonah Hill in War Dogs. It won’t be until either much later this year or in 2017 that we’ll see Teller in serious mode again. In the meantime, we have another comedy to wade through, the sporadically amusing Get a Job, a movie that feels like the kind of project Teller should have been making at the start of his career.

GAJ - scene2

He plays Will Davis, recently graduated and with a job at a local newspaper. His specialty is video reviews, but he’s soon fired thanks to cutbacks. Looking around for a job that suits him he ends up working for a recruitment firm that specialises in making video CVs for professionals looking to make an impression on potential employers. Meanwhile his father, Roger (Cranston) also finds himself out of a job after thirty years. He quickly identifies an ideal job for his skills, but he can’t get to the one man who has the power to say yes or no, the fabled decision maker. And while the Davis men face a variety of obstacles both in and out of work, Will’s friends – stoner Charlie (Braun), commodities broker Luke (Jackson), and sleazy app designer Ethan (Mintz-Plasse) – have similar problems navigating the choppy waters of employment. And then Will’s girlfriend, Jillian (Kendrick), also loses her job.

Right from the movie’s start it’s clear that the script by Kyle Pennekamp and Scott Turpel isn’t going to be as tightly constructed or relevant to today’s modern day job market as it may have intended, and actually that’s okay. Get a Job is a piece of fluff, an inconsequential movie whose message – be yourself, remember? – floats on the surface of its semi-humorous approach to job-seeking. It’s a movie to be watched when there’s nothing better on, or when you need to switch off your brain and let a movie just wash over you. And thanks to Messrs Pennekamp and Turpel, along with the movie’s director, that’s exactly what you get.

GAJ -scene3

But even inconsequential movies need to entertain, and Get a Job drops the ball too often to succeed. Three things we’re meant to find funny: Will taking dexedrine in order to work late(!) and behaving manically; Luke being coerced into drinking deer sperm to get ahead at work; and Ethan’s pervy iStalkYou app, that lets the user find someone even if they don’t want to be. With these and many more uneven attempts at provoking laughter, the movie is in constant search of a consistent comedic tone, and while there are some occasions when it’s successful, it does so against the odds. Teller and Kendrick are old hands at this sort of thing but even they can’t drag the material out of the rut it imposes on itself. The only cast member who seems to have the measure of things is Cranston; next to everyone else his is the only character whose situation you can sympathise with, and whose performance is actually enjoyable.

And like a lot of modern comedies, the viewer isn’t invited to like the characters in the movie, or even get to know them. They all have prescribed character arcs, and they all face challenges that are meant to show they can grow and be responsible as they take on adult roles. And although there is a definite “be yourself” vibe, and one that the movie maintains throughout, ultimately it’s done in such a conservative way that the message is worthless. Like so many other movies of its ilk, what Get a Job is really saying is be yourself for a while but only until regular society says it’s time to put that behind you, and be like everyone else. (American movies celebrate the individual with such persuasion.)

GAJ - scene1

The movie also falls back on too many tried and trusted scenarios to be fresh enough to work (ironically). Will has a boss, Katherine (Harden), who proves to be a ballbuster, but a fortunate discovery redresses the balance; Jillian won’t smoke from a bong – until the script decides she has to; Charlie appears to have no clue about being a teacher but he turns out to be inspirational; and Will’s early encounter with a pimp (Pharaoh) proves to be the most important working connection he ever makes. The performances, with many of the cast treading water (and with Teller and Kendrick proving the main offenders), are adequate without being memorable, and many scenes fall flat as a result.

Overseeing everything, Kidd doesn’t seem able to add any panache to proceedings, leaving the movie to coast along in its own wake, or run aground when the script loses momentum. However, there is one moment where the movie makes a relevant observation: when Jillian tells Will she’s been let go she mentions that she’s ninety thousand dollars in debt, no doubt a reference to the student loans she took out in order to get through college and/or university. It’s a throwaway comment, but it’s a better angle for a movie than the one used here.

Rating: 5/10 – the kind of movie that looks as if it’s a contractual obligation for all concerned, Get a Job could be retitled Get a Grip, or Get a Move On, or even Get a Life, such are the various ways it approaches its basic storyline; formulaic and only mildly amusing, it’s a movie that doesn’t really try too hard, but when it does, the extra effort doesn’t add up to much.

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Mini-Review: Get Hard (2015)

15 Wednesday Apr 2015

Posted by dullwood68 in Movies

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Alison Brie, Comedy, Craig T. Nelson, Embezzlement, Etan Cohen, Fraud, Kevin Hart, Mayo, Prison, Review, Will Ferrell

Get Hard

D: Etan Cohen / 100m

Cast: Will Ferrell, Kevin Hart, Craig T. Nelson, Alison Brie, T.I. “Tip” Harris, Edwina Findlay, Ariana Neal, Paul Ben-Victor, John Mayer, Greg Germann, Ron Funchkes

Hedge fund manager James King (Ferrell) has it all: a beautiful home, a beautiful fiancee (Brie), a recent promotion to partner in his future father-in-law Martin’s firm, and all the money he needs for a dream lifestyle. But it all comes crashing down when he’s arrested for embezzlement. In court, the judge sentences him to ten years in San Quentin, but allows him thirty days to get his affairs in order. In the wake of this, Alissa dumps him, Martin vows to find the person really responsible for the embezzlement, and James faces the prospect of prison by trying to run away to Mexico. But when he bumps into Darnell Lewis, who runs the car wash business at his place of work, he makes the assumption that Darnell has been in prison because he’s black. Asking for Darnell’s help in surviving on the inside, Darnell agrees to help him for $30,000.

Darnell does his best to toughen up James and prepare him for prison life, but James proves a less than able pupil. In the end Darnell decides James needs to be protected on the inside and hooks him up with his cousin, Russell (Harris), who has his own gang, the Crenshaw Kings. James makes a good impression on Russell but Russell decides he needs protection from a white gang instead and sends him to see the Allegiance of Whites gang, but the meeting ends in disaster, and both he and Darnell barely escape with their lives. At this point, Darnell realises that James really is innocent, and together they look for the real crook. But finding and keeping the evidence to convict that person proves to be another matter entirely.

Get Hard - scene

Whatever your feeling about mismatched buddy comedies, or indeed any movie starring Will Ferrell or Kevin Hart, chances are that this will appeal to a broad audience base, and entertain accordingly. If the movie lapses too often into the kind of farcical schtick that seems to underpin this particular comedy sub-genre, then it shouldn’t be a surprise that it lacks even the requisite number of belly laughs. This isn’t to say that Get Hard isn’t funny – it definitely has its moments – but what holds it back is that it doesn’t try hard enough to make its intended audience really laugh out loud (though a couple of one-liners come close). What it does is present situation after situation that allows Ferrell to trot out his idiot man-child persona one more time, and with little or no variation from any other comedy he’s made in the last ten years. James is a role tailor-made for him, but the problem is that it doesn’t stretch Ferrell as an actor, and for large stretches he coasts along in the role, hitting his mark but without any appreciable effort.

It’s the same for Hart, giving us the same manic portrayal he’s given us in Ride Along (2014), The Wedding Ringer (2015) and others. With nothing to shake up the performance, it looks tired already. Add to that an increasingly bizarre series of situations where James has to “man up” – including giving a blow job to a stranger, easily the movie’s most uncomfortably plotted moment – and a criminal plot that has all the originality of of a photocopy, Get Hard is lazy, opportunistic and, at times, unbelievably crass.

Rating: 4/10 – not the absolute worst way to spend ninety-four minutes of your time, but certainly not the best either, Get Hard wastes the talents of its two stars, and plays it all by numbers; save your money and wait for it to become available for free in whichever way you can access it.

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