Jason Statham and Guy Ritchie finally reunite after a decade and a half with the welcome 90s crime-drama throwback WRATH OF MAN
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Kevin reviews IN THE SAME BREATH, CENSOR, ON THE COUNT OF THREE, STRAWBERRY MANSION and KNOCKING from the first two days of the 2021 Sundance Film Festival
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SOUND OF METAL utilizes experimental sound design to amplify Riz Ahmed’s magnetic performance as a drummer suffering from permanent hearing loss
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Luke Greenfield’s HALF BROTHERS is a lazy, off putting road trip comedy that is as painfully unfunny as it is cloyingly sentimental
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Paul Bettany’s lead performance gives weight to Alan Ball’s UNCLE FRANK, which is otherwise a shallow, manipulative and caricatured film.
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THE LAST VERMEER fails to balance Guy Pearce’s enthralling, showy trial sequences with an inane investigation muddled by Claes Bang’s uninteresting lead.
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Kevin Costner and Diane Ladd are stellar in the western-riff LET HIM GO, which is a perfect showcase for their respective talents.
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The Glorias kicks off like basically every biopic, with a scene featuring the Oldest version of Gloria Steinem (played in this incarnation by Julianne Moore). The film then cuts back to her childhood upbringing, contrasting who she became with where she started. It’s a traditional framing that belies a far more unconventional vision that the film
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Miranda July’s KAJILLIONAIRE finds a perfect balance between Capital-Q Quirk, dark undercurrents and a genuine warmth and affection for its eccentric characters
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Words on Bathroom Walls has a lot to recommend. The performances are touching, it has a unique style that makes it feel fresher than these types of movies tend to be, and it has plenty of stylistic choices that really work. The script occasionally matches that cinematic verve and flair, but it can’t escape the YA romance genre’s narrative stranglehold.
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RADIOACTIVE attempts to celebrate the life and work of Marie Curie, but is merely a banal series of biopic clichés
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Cinema Chance Cube goes to a snowed out cabin in Maine to fight off aliens and watch the Lawrence Kasdan film DREAMCATCHER
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Filmmaker Jason Horton joins Kevin, Ryan and Shannon to discuss C.M. Talkington’s LOVE AND A .45
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Well hello there! Long time no see! Because I’m not exactly the most on-top-of-things, as you may have gathered from listening to the previous eleven episodes of Cinema Chance Cube, I forgot to do show notes for last week’s show. So lucky for you, we’re booking a double feature for you this time around: Michael
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Patrick Vollrath’s feature debut 7500 is another decent entry in the single-location subgenre of indie thrillers.
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The Cube determines that TOTAL RECALL is the next episode, so the boys get their asses to Mars and discuss Verhoeven and Schwarzenegger’s masterpiece.
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Andrew Patterson’s directorial debut, THE VAST OF NIGHT, is a clever sci-fi thriller that utilizes its 1950s setting to maximize the film’s feelings paranoia and isolation
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Kevin, Ryan and Shannon are exposed to immense amounts of gamma radiation and bad dads with Ang Lee’s HULK
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Fate decides the Cinema Chance Cube boys must watch the 1949 Carol Reed classic THE THIRD MAN, starring Joseph Cotten and Orson Welles!
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Mavis McGee joins the Cinema Chance Cube to discuss Sam Peckinpah’s THE GETAWAY
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Kevin loaded the Cinema Chance Cube with Shane Black’s THE NICE GUYS, which he, Ryan and Shannon agree is one of the best films of the past decade.
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The Cinema Chance Cube gents mambo their way into the world of DTV madness with the Albert Pyun film MEAN GUNS starring Christopher Lambert and Ice-T
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Kevin, Ryan and Shannon are a trio of soundmen trying to solve conspiracies and discuss Brian De Palma’s BLOW OUT on the latest episode of Cinema Chance Cube
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The Cinema Chance Cube boys are back to talk about François Truffaut’s French New Wave film SHOOT THE PIANO PLAYER
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The Cinema Chance Cube podcast returns with Kevin, Ryan and Shannon selling their souls to watch 2000’s BEDAZZLED
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Lewton Bus’s freshest podcast series Cinema Chance Cube kicks off with Kevin, Ryan and Shannon watching the 1990 Dolph Lundgren film I COME IN PEACE
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COVID-19 might have shut down most of 2020’s film landscape, but the year has still given us one masterpiece: Eliza HIttman’s NEVER RARELY SOMETIMES ALWAYS
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THE INVISIBLE MAN is a horrific tale of the effects our violent, male-centric society has on women by way of one of the Universal Classic Monsters
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Back again for another year, the Jeff Wells of Lewton Bus, Kevin Kuhlman, breaks down this year’s Academy Awards
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Sam Mendes’ long-take heavy 1917 is a thrill ride through the battlefields of World War I.
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THE RISE OF SKYWALKER, the latest STAR WARS film, suffers from incomprehensible plotting, a devout focus on inconsequential minutae and crippling nostalgia
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Daring and unafraid of pulling its punches, QUEEN & SLIM is a provocative, unsanitized work of art featuring star turns by Daniel Kaluuya and Jodie Turner-Smith
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Rian Johnson’s KNIVES OUT combines playful performances and witty writing to provide a wealthy abundance of laughs, fun, twists, and intrigue.
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FROZEN II is narratively ambitious and visually inventive, living up to its predecessor without being a mere retread, letting the past be in the past.
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LAST CHRISTMAS is a perfectly gentle, charming and breezy Christmas-themed rom-com, even despite its bad twist and off-tone digressions into darker themes.
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One of the year’s best films, MARRIAGE STORY features some of Noah Baumbach’s finest work as a writer/director and incredible leading performances from Adam Driver and Scarlett Johansson.
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Kasi Lemmons attempts to add weight and depth to the biopic formula with HARRIET to mixed results.
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With bad pop culture references and terminally inane musical interludes, THE ADDAMS FAMILY suffers from everything that is wrong with 21st century children’s entertainment
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WHERE’S MY ROY COHN, the documentary about the notorious attorney, is heavy on facts but light on insight into one of the 20th Century’s most destructive figures.
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Renée Zellweger’s performance does its best to elevate JUDY, but the film still cannot escape the clichés and banality of the musician biopic genre.
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Jillian Bell’s stellar, hilarious performance carries BRITTANY RUNS A MARATHON even when the film around her can’t always keep up
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The striking performances and rich chemistry of Shia LaBeouf and newcomer Zack Gottsagen bring THE PEANUT BUTTER FALCON to life as one of the year’s best films.
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ANGEL HAS FALLEN attempts to be more respectable than its predecessors and humanize its hero, but in doing so sapped the franchise of what little uniqueness and personality it had.
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GOOD BOYS, despite the dire advertising, is a solid coming-of-age comedy that overcomes a predictable setup with well crafted jokes and plenty of heart.
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André Øvredal’s adaptation of the children’s horror classic SCARY STORIES TO TELL IN THE DARK is full of gruesome effects and terrifying monsters, but struggles to come together as a compelling narrative.
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BRIAN BANKS is a garishly loud, unsubtle film that fails to inspire despite the incredibly powerful true story it’s based on.
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The Lewton Bus crew breaks down our favorite films of the year so far, including superhero epics, city-smashing monsters, and hour-long 3-D tracking shots.
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Emma Thompson steals the show in the Mindy Kaling penned LATE NIGHT, a clever film with enough surface pleasures and depth that will satisfy any audience
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A tale of a doomsday prepper falling for a hoarder, THE TOMORROW MAN struggles to find its footing despite strong direction from debutant Noble Jones
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Guy Ritchie’s live action remake of ALADDIN is enjoyable from start to finish, buoyed by confident direction, stellar performances, and classic musical numbers brought to life.
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