Four years after Black Swan, Darren Aronofsky returns with a film billed as a biblical epic, but is really anything but. Don’t expect a religious sermon as the visionary filmmaker transforms the widely known Old Testament story into another provocative, esoteric addition to a divisive, but no less fascinating filmography. Continue reading Noah Review
A new star child is born
Science fiction films, like any form of mainstream storytelling, typically hinge on humanity’s struggle against an antagonist, whether it’s an alien species, self conscious technology or earthbound asteroid. Powered by his ambition to deliver the most lifelike presentation of what it’s like begin in space, Alfonso Cuarón substitutes a tangible antagonist for a minimalist focus on the isolation, emptiness and natural dangers that occur within such an inhabitable space. It’s immediately clear that Cuarón’s daring enterprise is a rare breed, but this is only one of the elements that sets Gravity apart from the vast majority of others.
To idly go where so many have ventured before
J.J. Abrams found success with his refreshing Star Trek rebirth four years ago, but plunges his enterprise into darkness with a lazily written sequel that lacks the charm and quality of its predecessor.
Pirates of the Clay-animation
Aardman are second only to Pixar as the studio who audiences trust to bring them consistently entertaining and inventive big-screen animations. With such tremendous reputation it’s only natural that every new project is met with heightened expectations and they usually deliver. However, following consecutive disappointments, Flushed Away and Arthur Christmas, Aardman’s fifth feature film received a surprising amount of trepidation.
Ghost Rider 2 – The Do-over
It is safe to say that the original film is best forgotten, so much so that for the sequel the director relies on voiceover cutaways to provide a painstaking explanation of the backstory throughout the narrative. Continue reading Ghost Rider: Spirit of Vengeance Review