The first warning that “The Freebie” might not be everything it could have been is the omission of a credited writer in the opening credits, and that lack of a structured storyline resonates throughout star and first time director Katie Aselton’s film.
As many people may know, Best Short Film is a category recognized by the Academy Awards. What most people may not know is that, through the years, the Academy of Motion Picture Arts and Sciences has actively been attempting to eliminate this category from official competition. “Invisible” is a good reason not to.
Exceptionally well executed, this product of the AFI Directing Workshop for Women demonstrates the relevancy of the short film as a format and why it is so important to encourage the development of women filmmakers.
A hyper adaptation of the comic book series that ran from 2003 to 2006, “The Losers”t makes a nice, loud impression on the big screen.
A furious 90 minutes of supersized stunts, arch performances, and grandiose villainy, the picture is wild ride befitting its funny book origins. Just try to ignore the strained humor and the occasional Michael Bay move from director Sylvain White, and there’s a merry bit of mayhem waiting to entertain the pants right off you.
It’s possible that Michael Douglas is merely acting in “Solitary Man,” playing a womanizing smooth-talker facing his dire twilight years while the world seems to get younger and younger, perhaps out of spite.
At this point, there are as many oceanic documentaries as there are stars in the sky, or perhaps fish in the sea.
“Oceans” is the latest entry in the big bottomless blue sweepstakes and while it doesn’t necessarily redefine the genre, this Disneynature release is more artful and considered than its competition, permitting audiences a far more meditative take on the mysteries of the deep than the average educational film would allow.