No matter how much we may want to deny it, we all categorize, label and judge people, neighborhoods and entertainment based solely on appearance; doing so is simply human nature — a subconscious reaction based on past events and preconceptions formed through our interactions with others. A lot of people are capable of overcoming their prejudices and give someone or something the benefit of the doubt, however, when someone uses their biases as a latent survival instinct or to blatantly hurt someone else, whether physically or verbally, it can lead to dangerous consequences that more than likely will never be reversed. You really shouldn’t judge a book by its cover, and two films, McFarland, USA and The DUFF, which on the surface are vastly different (causing many to judge them based on their labels), are actually very similar in how they deal with this very subject. Read Full Review

Movies about spies and secret intelligence agencies have been intriguing audiences for as long as there have been stories. They have evolved over the years, but there’s always been a strong, ageless core for which all spy stories latch onto. It starts with a strong hero — a brave man, usually stoic, suave and true (CHEER). This character knows right from wrong, usually stands for justice and purity and would never harm his integrity by doing anything remotely evil. His nemesis is more than likely a crazed lunatic with shifty eyes and a curled mustache (HISS) who wants nothing more than to mold the world into his very own cash-grab playground. In between them is the fair maiden, sometimes a damsel in distress, for whom the nemesis pines but is ultimately destined to fall for the hero, even if she’s only known him for mere hours. At some point, the nemesis will capture the hero and spend a few minutes to reveal all of his dastardly plans. Before running off to put this plan in motion, he will execute an extremely elaborate plan to kill the hero, who will no doubt escape in the nick of time to thwart the villain and save the maiden to live happily ever after. Kingsman: The Secret Service, as the film itself so rightly claims, is not that movie. Read Full Review

Movies are an enigma. Some have the ability to captivate you from the first image or piece of dialogue; some take longer to find an audience, needing time to build a relationship with you; and still others are so far removed from being engaged, you can barely stay awake as you wonder what else you’d rather be doing than watching the train wreck in front of you. And previews aren’t necessarily an indication as to which category a film might fall. I’ve seen some dreadful previews for movies that turned out to be stellar pieces of cinema and vice-versa, so until you actually see the movie, you just never know. It’s one reason why I see so many movies, including Seventh Son, a film that by its trailer looked like it might be a dud, but one I hoped its cast would be able to save. Sadly, it acted more like an Ambien than a shot of adrenaline. Read Full Review

Red Herring’s (or, by definition, something, especially a clue, that is or is intended to be misleading or distracting) are a key component to any whodunit. When used well, they keep you guessing as you feverishly try to put the pieces together before the big reveal, which blows your mind because you never saw it coming even though the pieces were there. When done poorly, you either see the reveal coming a mile away, or the last act is a muddled, incomprehensible mess that makes everything that came before it completely pointless rather than gleeful trickery. The Loft relies heavily on red herrings to keep its narrative momentum moving, and though the end might come off a bit unsatisfying, none of them are wasted as the film stays mostly true to the characters its established. Read Full Review