Henry Thaler
Lez’hur Ledger: Tofurkey and mommy issues
I’m not going home for Thanksgiving. This really wasn’t a hard decision. Usually I have a near panic attack with the logistics, given it’s the only time of the year when I have to do math. My thinking goes something like this: If my flight is Wednesday afternoon, and I have to be at Reagan National Airport an hour in advance, and it takes 20-40 minutes to get to the airport by Metro and 15-20 minutes to get to the Rosslyn Metro by GUTS bus, then that means… yep, I have to skip all my Tuesday classes. Also, on a somewhat related note, how awesome is that airport? If I have a child I’m thinking of naming it Reagan National. I’m not a Republican, but I am a fan of efficient transportation hubs.
By Henry Thaler November 20, 2013
Clooney ascends in The Descendants
Another excellent addition from the master chronicler of middle aged men in crisis, Alexander Payne’s The Descendants sweeps the viewer away with its beautiful Hawaiian vistas and playful ukulele music, all the while breaking our heart with the sad situation of the King family. A grittier—and probably more realistic—version of Hawaii is presented, with frequently cloudy skies, dirty pools, and fake smiles. This is no Mary-Kate and Ashley’s Hawaiian Beach Party.
By Henry Thaler November 17, 2011
What’s up with this Thing?
Walking into the screening for The Thing, a prequel to the beloved 1983 John Carpenter film, you’d expect to witness a crowd-pleasing scary movie with terrifying special effects. But The Thing ends up just as generic as its title.
By Henry Thaler October 13, 2011
Drive blends the bloody and the beautiful
There’s a scene in Drive where Ryan Gosling and his love interest share a passionate, climactic kiss. Then Gosling ruthlessly proceeds to kick a thug’s skull in. This combination of excessive violence and theatrical set-ups gives Drive a gritty, gore-is-good charm. With quiet, tension-building scenes interrupted by gut-wrenching violence, the film pays tribute to classic car-chasers like Bullitt while mixing in the satirical wit of Tarantino. Danish director Nicolas Winding Refn’s final product is a stylish, bold, and brutal film, filled to the brim with superb acting and beautiful cinematography.
By Henry Thaler September 15, 2011