It is a disservice to both the film and to our own desire for relevant mainstream film-making to ignore the fiery conscience at the heart of this over-the-top piece of Mexican myth-making.
He's the only mainstream filmmaker outside of Clint Eastwood who consistently makes adult dramas. All of his films boast fine performances by underemployed actors of color. Nothing would make me happier than a Perry film as a possible contender.
I have to wonder how many kids bought tickets to the PG-13 Takers and snuck into the R-rated Machete, which makes their battle for second place a little more amusing.
As we glance at the independent cinema that broke out this year, we notice a disturbing trend. Pretty much every major arthouse hit this summer is something that would have been a mainstream release ten or even five years ago.
The biggest surprise of summer 2010 is how few surprises there really were. Most of the expected smash hits were smash hits, the expected under-performers underperformed, and the bigger films without studio support tanked.
The Resident Evil series, based on a horror video game franchise, has been one of the more consistent genre franchises over the last decade.
In the spirit of Yom Kippur, let us take a few moments to finally let go of a few alleged transgressions in recent cinema history. Don't do it for them, do it for yourself.
Katy Perry is cute. Parents may find that of prurient interest, but I guarantee anyone still young enough to un-ironically watch Sesame Street isn't going to notice or care about how low-cut her dress is.
The funny thing about long-delayed sequels is that it's generally pretty easy for them to top the opening weekends of their predecessors purely due to inflation.
Superman/Batman Apocalypse has a bare-minimum of plot and character from which to hang a nonstop parade of super-powered smackdowns. Frankly, the entire last half of the film is one epic battle after another.
If Sex and the City is a dead series, it is not the fault of the critics, or even the second film's alleged downturn in quality, but simply the fault of a studio that doesn't recognize easy money when it sees it.