Spring break might come in the form of your annual trip to Bora Bora, or it might just mean going home to sleep for seven days straight. No matter what your plans, the free time means it’s time to hit the movie theater right when the theater most needs the money. Intermission has the top movies you should check out over the break.
“Warm Bodies” is the latest, and emotionally, the best film in the recent trend, starting with “Shaun of the Dead,” to revive the zombie film for comedic and even rom-com effect. “Zombieland” is its closest predecessor, a film more interested in the eccentricities of the humans battling the zombies–including a couple of kick-ass sisters who excel at scheming–than the zombie battles themselves.
When you freshmen realize the Stanford Calling Center is really just pimping you out, maybe you, too, will have the sense or the entrepreneurial spirit to start your own phone sex line out of Larkin or wherever else it is you live. Write a script about it with your roommate and you’ll be the next Katie Anne Naylon.
From what might certainly be one of the best-spliced trailers of 2012/the summer/all time, moviegoers might expect from director Rian Johnson’s latest, “Looper,” a mind-bending, time-traveling bounty hunt wherein a Bruce Willis version of a main character aims to kill a Joseph Gordon-Levitt version of said main character (or vice versa?). Mix in some Emily Blunt, Jeff Daniels, club scenes and dub-step, and the stage of cinematic expectations has been set.
In “Looper,” this year’s dose of existential quandary set to science fiction aesthetics, Rian Johnson (“Brick,” “The Brothers Bloom”) directs Joseph Gordon-Levitt as one version of Joe, an assassin who finds himself marked to kill or be killed by his older self, played by Bruce Willis. Intermission was lucky enough to pick the brains of director Rian Johnson and actor Joseph Gordon-Levitt. Here the two reflect on just a sampling of the questions “Looper” raises.
Peter Hedges’ new film, “The Odd Life of Timothy Green,” features characters similar to those of his last film, “Dan in Real Life”: clueless but well-meaning parents and children that are wise beyond their years. Whereas as “Dan in Real Life” was a breath of fresh air, including an all-star cast and modern themes, the characters in “Timothy Green” are plain and hackneyed and play out a story so simple-minded and quaint that it could have been written 30 years ago.