His Blazing Automatics: Gareth Evans Just Made the Best Action Film of 2016 in 5 Minutes with ‘Pre Vis Action’
“It’s not even February, but it feels safe calling Pre Vis Action the best action film of 2016.”
Dylan Moses Griffin
Dylan Moses Griffin has been a cinephile for as long as he can remember. His favorite film is Taxi Driver, and he reads the works of Roger Ebert like it’s scripture. If you want, he will talk to you for 30 minutes about the chronologically weird/amazing Fast and Furious franchise.
His Blazing Automatics: 2016 Is the Year of Keanu Reeves
“Don’t call it a comeback, call it a Reeves-urrection.”
We Failed This Film: Joe Wright’s ‘Hanna’
“Atonement may always be widely regarded as Wright’s best work, but Hanna is his bravest and most authentic (and should be remembered as such).”
Dylan Moses Griffin’s Top 10 Films of 2015
Dylan Moses Griffin has been a cinephile for as long as he can remember. His favorite film is Taxi Driver, and he reads the works of Roger Ebert like it’s scripture. If you want, he will talk to you for 30 minutes about the chronologically weird/amazing Fast and […]
Eye on Iñárritu: With ‘Amores perros,’ Alejandro González Iñárritu Kicked Off a Masterful Career
“Amores Perros clocks in at 150 minutes, yet not a single frame feels unnecessary.”
We Failed This Film: Scott Frank’s ‘A Walk Among the Tombstones’
“A Walk Among the Tombstones beholds one of the most understated and unique performances from action hero-era Liam Neeson.”
Where Is My Mind?: The Leftovers ‘I Live Here Now’ (Recap)
“If this is the last hour we spend watching The Leftovers, then “I Live Here Now” is certainly a historic one that successfully doubles as both a season finale and a series finale.”
His Blazing Automatics: For Your Year-End List Consideration – John Maclean’s ‘Slow West’
“Simply put, Slow West is unlike anything out there this year and deserves to be recognized as one of the most unique works of 2015, as it only grows and develops with each viewing.”
White Lines: The Leftovers ‘Ten Thirteen’ (Recap)
“One of the bright spots about Season Two is how The Leftovers has given each cast member their own episode to shine.”
We Failed This Film: Andrew Dominik’s ‘Killing Them Softly’
A Column by Dylan Moses Griffin
The Black Lodge: The Leftovers ‘International Assassin’ (Recap)
“The otherworldly has always existed on the peripheries in The Leftovers, but in “International Assassin,” the physical world and the surreal world truly collide.”
His Blazing Automatics: Jeff Nichols’ ‘Midnight Special’ and the Middle-Class Studio Film
“If Midnight Special does well in March, the film will undoubtedly encourage an environment in which middle-class studio releases aren’t such a rarity, because the film world needs more working class heroes like Jeff Nichols.”
Death Is the Road to Awe: The Leftovers ‘A Most Powerful Adversary’ (Recap)
“On Lost, cliffhanger endings were simply a part of the storytelling structure. For The Leftovers, “A Most Powerful Adversary” is perhaps the episode that bares the most striking resemblance to Lost given the dooming conclusion.”
We Failed This Film: Sean Byrne’s ‘The Loved Ones’
A Column by Dylan Moses Griffin
Faith and Superstition: The Leftovers ‘Lens’ (Recap)
“I suppose it’s a testament to the quality of The Leftovers that a less than spectacular episode can feel like a letdown.”
Review: Lenny Abrahamson’s ‘Room’
“Lenny Abrahamson’s latest film, Room, has an incredibly unique script and one of the best performances of the year. So why is the film just good, and not great?”
The Book of Job: The Leftovers ‘No Room at the Inn’ (Recap)
“With The Leftovers being a show about faith and hope, and the desperation in holding onto such ideals, Matt deems Mary’s relapse into a comatose state as a test of his faith.”
We Failed This Film: M. Night Shyamalan’s ‘Unbreakable’
A Series by Dylan Moses Griffin
No Miracles in Miracle: The Leftovers ‘Orange Sticker’ (Recap)
“Understandably, “Orange Sticker” sacrifices grand thematic focus in favor of pushing the story forward but still manages to meditate on a certain idea.”
His Blazing Automatics: The Postmodern Horror of Alfonso Gomez-Rejon’s ‘The Town That Dreaded Sundown’
His Blazing Automatics is a Vague Visages column by Dylan Moses Griffin.
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