The latest theatrical effort from Marmite-man Ricky Gervais could easily be written off as a good sketch idea stretched too thin, but there’s a certain charm to its simplicity. Continue reading Special Correspondents Review
At just ninety minutes Atlas Mugged is one of Telltale Games’ briefest adventures yet, but one that shifts between intense action, laugh out loud comedy and poignant character moments with such fluency that, despite its brevity, makes every second count. Continue reading Tales From The Borderlands Episode 2: Atlas Mugged – Spoiler Review
A Streetcar Named Delirium
If Jennifer Lawrence’s emphatic turn in David O. Russell’s dysfunctional romantic comedy Silver Linings Playbook was the strongest female performance last year, then 2013 firmly belongs to a mesmerising Cate Blanchett in a similarly complex role. Woody Allen’s modern revision of A Streetcar Named Desire is driven by Cate’s Blanche-esque performance and combines heavyweight tragedy with the director’s trademark humour to deliver his finest film in a long time.
Night of the Living Clay
Laika, the animation studio behind Henry Selick’s flawed, yet creepily entertaining Coraline, return with a new stop motion horror comedy and though ParaNorman showcases their technical ability it never presents as much originality or charm as its predecessor.
Pull the other one
Simon Pegg, Nick Frost, a talking alien and a referential science fiction narrative. It’s no surprise that prior to its release this brash sci-fi comedy was frequently mistaken for the highly anticipated third instalment of The Blood and Ice Cream trilogy.
You don’t have to be murderous to work here…
Unfortunately, it’s likely that the majority of us have had the experience of working for a horrible boss, but as nightmarish as our own experiences may seem they are nothing compared to those featured in Seth Gordon’s 2011 comedy Horrible Bosses. The entire film hinges on the presentation of its three antagonistic bosses and its prime strength is the actors cast in these roles; Spacey, Aniston and Farrell.
The good old days.
From its potent idiosyncrasy to its ceaseless, yet stylistically flexible humour Moonrise Kingdom is childlike, but in no way simpler or less serious than any of Wes Anderson’s previous films. In fact, it eclipses each of them with a mature expression of childhood complexities. Beneath the varying layers of peculiarity, eccentricity and comedy is a meaningful reflection of relationships, family and love.