Posterized Propaganda July 2012: Meet the new poster, same as the old one

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“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill [...]

REVIEW: American Reunion [2012]

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“I snagged a pelt or two” Considering the American Pie saga pretty much paved the way for films like Harold & Kumar Go to White Castle, it’s a fitting turn of events to see Jon Hurwitz and Hayden Schlossberg bring the East Great Falls kids back for their thirteenth reunion. Wait, thirteenth? What happened to [...]

REVIEW: American Pie 2 [2001]

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“That’s a lot of flutes” Right when you thought Kevin (Thomas Ian Nicholas) learned his lesson about manipulating the lives of his friends to compensate for his own insecurities, he does it again. Scared to go to college before becoming a man, American Pie followed his misguided pact to ensure his best friends would lose [...]

REVIEW: American Pie [1999]

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“Suck me, beautiful” I’ll admit now that my love for American Pie is rooted heavily in nostalgia. Having first seen it in theatres as I was entering my own senior year of high school, the comradery of its band of brothers cautiously walking together towards graduation and manhood doesn’t quite resonate as much today at [...]

REVIEW: Rumor Has It [2005]

“They certainly have” Why Rob Reiner, why? I mean I understand there might not be much good material out there these days, but really. I mean you directed Stand By Me, The Princess Bride, A Few Good Men, and This is Spinal Tap. What is up with the drivel nowadays, especially with this horrid attempt [...]

REVIEW: Edmond [2005]

“No, that’s too much” We have here a night of debauchery, violence, anger, and hate which could only be delivered by David Mamet’s lyrical prose and the horror background of director Stuart Gordon. Think Scorsese’s After Hours, but dead serious and shrouded in pitch black darkness. Much like Mamet’s Oleanna, also based on his own [...]