This Week on Demand: 25/05/2014



Buck Wild

There’s a roughly even allotment of insufferable and amusing material in Buck Wild, Tyler Glodt’s standard-setup horror that meets the cabin in the woods template with Shaun of the Dead-style “zom-com” to no great avail. Glodt, co-writing with star Matthew Albrecht, seemingly takes cues from The Hangover in the story’s initial boys-will-be-boys weekend away, the humour appropriately juvenile to boot. Once the genre aspects come into play things pick up considerably, Glodt’s taste for a gory set-piece and the script’s unsentimental approach to its characters’ fate making for a scant scattering of fun amidst the still hit-and-miss humour. A feeble dramatic arc emphasised at the end, though, tips the scales altogether the wrong way, and what little Buck Wild’s managed to get right up to that point soon goes forgotten. A peculiar insistence on fitting the film’s title into dialogue at every opportunity is an additionally irksome affectation. AVOID IT. ~RD












God Loves Uganda (Read our full review)

That the makers of God Loves Uganda had to misrepresent themselves to garner the kind of access they did to their subjects, a group of Christian missionaries pushing an anti-homosexual agenda in Africa, is all the more appreciable given the inflammatory material it afford them the opportunity to capture. That they don’t, having uncovered the distressing impact these figures have on the communities whose morals they control, confront them on their disconcerting beliefs—beliefs of which the film and its makers distinctly disapprove—robs that incendiary evidence of any real power. This movie is an opportunity missed: what good does it do to present the ills of an organisation in so passive a manner as to sit back and smile as they express the oppressive outlook the film ostensibly intends to expose? God Loves Uganda is important for the prejudice it presents, and just as indefensible for how little it does about it. WORTH WATCHING. ~RD


Live at the Foxes Den

Subtlety is a treasured art form, one that Michael Kristoff completely ignored while making Live at the Foxes Den. The film constructs a meandering portrait of Bobby Kelly (Jackson Rathbone), a corporate lawyer who quits the workaday world of “circumstantial evidence” in order to pursue a career as a lounge singer. Kristoff could have made a better film had he stuck to this one story, but instead he chooses to weave a convoluted narrative filled with themes of homosexuality, alcoholism, music, clear vodka, murder, assumed identities, jealous fiancées, suicidal brothers, deceased spouses, and quarreling lovers. To say that Kristoff paints his characters with broad strokes is an understatement; he draws all over them with big crayons, then he writes “metaphor” and “symbolism” on the paper. It is a hot mess of a film that can’t seem to figure out what it is trying to do. AVOID IT. ~JG


Machete Kills (Read our full review)










Mile… Mile and a Half










No Woman, No Cry









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About Author

Ronan Doyle is an Irish freelance film critic, whose work has appeared on Indiewire, FilmLinc, Film Ireland, FRED Film Radio, and otherwhere. He recently contributed a chapter on Arab cinema to the book Celluloid Ceiling, and is currently entangled in an all-encompassing volume on the work of Woody Allen. When not watching movies, reading about movies, writing about movies, or thinking about movies, he can be found talking about movies on Twitter. He is fuelled by tea and has heard of sleep, but finds the idea frightfully silly.