Film Review: Magic Mike XXL

There’s a moment in the musical Wicked where Elphaba looks around and wonders if the encounter she had with Madam Morrible really just happened but it seemed so strange. I, too, found myself wondering if that really just happened, but rather than wondering if I had a talent that could help me meet a wizard, I was amazed that once again Channing Tatum and company managed to make Magic Mike XXL, a wholly enjoyable film about lovable strippers that rises above expectations.

First Half of 2015 Movie Awards

Well we have officially past the halfway point of the year! It’s been a interesting year in the movie business and these awards reflect that.

On the Floor #10: The British Are Here

With the newest announcement of Tom Holland as Spider-man and an article for The Atlantic, Spagettit and I debate whether the British have actually taken over, the pros and cons of acting training, and give you a brief detour to Colton Haynes.

Film Review: The Tribe

Last year I remarked that watching Foxcatcher was like having your spirit in a vice grip. I was unsure a movie could top the oppressive nature of that film, but then along came The Tribe, a beautifully rendered film, which proves to be just as corrosive to the soul. Unlike that previous film, this movie beckons you to join its sadistic pleasures, from its alluring long takes to the fact that there are no subtitles for the sign language. Try though you might, you can’t but help lean into the film, even as the sheer bleakness provides no recourse.

Wayback Wednesday: 1995

In terms of years of film that had an impact, 1995 is certainly near the bottom. Not that there weren’t cultural landmarks and interesting films but nothing quite sticks out as the OMG this movie! So how then do you quantify a year like this? Well if you look at the following list of awards, you can see that you have to try and glean nominations from everywhere and enjoy one of the craziest movie years.

On the Floor #9: The Rachel Dolezal of Movies

With much of the news and discourse these past few weeks surrounding white people attempting to be black and do black things, On the Floor tackles what happens when white directors decide they want to tell black stories. We argue quite a bit about whether it works, who did it best, and where we are

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