In the early 1870’s the residents of Labette County, Kansas, lived alongside a family of serial killers. Known later as “The Bloody Benders,” their modus operandi was to lure travelers into their grocery store, invite them to stay for dinner, crush their skull with a hammer, and slit their throat to ensure death. Afterward, they would bury the remains somewhere on their property. Just as soon as they had been discovered, they vanished without a trace, making it difficult to ascertain if all the details we know are factual or fictional. However, stories like these are the perfect playground for filmmakers, as they are able to take as many creative liberties as they would like, and in the end, they need only say its “inspired by true events.” That being said, Bender is one of many adaptations of these events, but it looks to be one of the only films that explicitly deals with the actual Bender family and their specific victims.
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In times of war it is very easy to think of your enemy as the embodiment of evil. Sometimes it is necessary to do so. However, more often than not, the person on the other side of the line is just like you, a patriot doing their duty for their country, with mild to moderate understanding of the overall big picture. 1944 helps to illuminate this point, as the audience gets to experience the war from both sides of the battle. In this case it was Estonians fighting on both sides, further complicating the morality of the situation.
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Having studied and enjoyed the works of Freud, Lacan, Kristeva, and other great psychoanalytical thinkers in school, the term “psychoanalysis” carries a significant weight for me. That being said, I had quite a few expectations when picking up this film. Expectations that were not met. Now to be fair, etymologically, “psychoanalysis” means ‘mental (psyche) loosening/break apart (analysis),’ and that is most certainly delivered. However, I believe that the only relationship that this film has to the writings and theories of psychoanalysis is that literal definition of the title. Otherwise, it is a tremendous mystery to me as to how this film received its name.
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“Two can keep a secret as long as one of them is dead.”

The Pretty Little Liars have finally reached the end of their rope. And while you discovered who little mini-A’s were over the previous six years, you’re finally going to get to the bottom of the entire mystery. I’ll admit it’s a bit of a shocker. With the end upon us, this is no place for beginners. If you don’t know who Aria, Spencer, Emily, Hannah, and Alison are, it’s time for you to head back to the beginning and catch up. You can find our reviews from those seasons here. For the rest of you, let’s talk Pretty Little Liars, shall we?
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“Guns change everything, and a bullet is forever.”

This new USA Network series is based very loosely on the 2007 film staring Mark Wahlberg. The film was based on the bestseller novel Point Of Impact by the ironically named Stephen Hunter. The series started life with several events going against it. The film really didn’t make much of an impact itself. It lost money with a domestic box office total under $50M and about the same in the world-wide box office. So it wasn’t necessarily a no-brainer for a television series adaptation.
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La Vie de Jean-Marie (The Life of Jean-Marie) is a documentary that pitches itself as an “excellent example of cinema verité,” leaving it exposed to the tremendous legacy that specific film movement left upon cinema history. For those that don’t know, “cinema verité,” or “truth cinema,” is a style of documentary invented by French filmmaker Jean Rouch around the late 1950’s. The idea behind this style of cinema is “reveal the truth” through the use of the camera and the spontaneity of the film’s subjects. La Vie de Jean-Marie does indeed wear the shoes of cinema verité quite well; however, it does so in an exhausting fashion.
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“We’ll figure something out. We always do.”

You should know the setup by now. If not, you can check out our previous reviews: The 100 Reviews. You’ll discover a series that changes quite substantially with each new season. In fact, the title itself was no longer relevant to the series after the first episode. The originally 100 was quickly whittled down in size. Then the rest of the Ark came down, and in Season 4 there are about 500 of the Ark’s inhabitants on the planet.
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