by Joe Hammerschmidt Well, it’s that time of year again. The spot on the local cinephile’s calendar between mid-May and early June where absolute nirvana is reached, where Seattle collides with Hollywood and 90 other filmmaking countries
by Joe Hammerschmidt Earlier this year, I experienced newfound hope in the wrong-turned ship known as the “standard studio comedy”, when Game Night debuted and left me quasi-speechless toward future vitality. The best comedies tend to work
by Joe Hammerschmidt There’s no secret to the ideal that when creative talents unite for a like-minded purpose, the goal is not only acheived but often in strongest form. Oscar-winning writer Diablo Cody, and Oscar-losing (maybe someday)
by Joe Hammerschmidt At the beginning of the millennium, the maverick Broken Lizard comedy troupe entered the public conversation, when their second film, the breakout hit Super Troopers debuted at Sundance, ahead of a rampant cult following
by Joe Hammerschmidt In the disjointed era of “#MeToo” we now live in, the simple importance of allowing woman their moment to speak and be heard, share their consistently valid views, can’t help but echo on film
by Joe Hammerschmidt 2018 has proven to be the year of new breakthroughs in genre classification; just this past month we’ve discovered how video games and horror plots can be turned upside their head. The standard creature
by Joe Hammerschmidt As we approach the second quarter of this surprising, satisfying moviegoing year, it gets a little easier to spot out the simpler guilty pleasure pics which you don’t expect to enjoy based on preconceptions.
by Joe Hammerschmidt How often does a film come along that can challenge the values of its respective genre, and improve the market share of its director? I’d say slim to nil, but it’s happened, and we
by Joe Hammerschmidt The 2010s have kept legend status director Steven Spielberg busy, yet the multi-genre maverick had fallen into a slight rut as of late, sticking close with well-written period dramas, and one unmemorable literary adaptation.
by Joe Hammerschmidt Eight years ago, I was formally introduced to the work of one Wesley Wales Anderson, Texan-born auteur with, as one would observe, a visionary style all his own. It was through animation, the genre