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.
Continue reading Gravity Review
“Most people don’t believe something can happen until it already has. That’s no stupidity or weakness, that’s just human nature.”
Having begun his career in blistering fashion, but unfortunately stumbling in recent years, Marc Forster seeks to reignite his cinematic form with an intriguing, yet worryingly loose adaptation of Max Brooks’ acclaimed zombie horror novel. His World War Z reimagining bears little resemblance to its sublime forebear, but that’s part of the reason why he’s able to create such an exhilarating disaster movie brimming with fascinating stories, compelling drama and memorable action set pieces.
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A film of two halves
Derek Cianfrance’s follow up to his emotionally gripping Blue Valentine had fans immediately excited after it was revealed that the American filmmaker would be reuniting with Ryan Gosling. Much like the Golden Globe-nominated performance he previously provided in Cianfrance’s anti-romantic Sundance-hit, the Hollywood heartthrob is the driving force behind this ambitious project. Sadly, he’s also the only memorable part of it.
Continue reading The Place Beyond The Pines Review
Elysium fields political bite, but little more
Having stunned audiences with his exhilarating sci-fi debut District 9, South African filmmaker Neill Blomkamp makes an eagerly anticipated return with another futuristic action thriller. Blomkamp’s Elysium may evoke the same politically-charged ethos of its predecessor, but rather than supplementing the narrative the excessive social commentaries dominate this mildly entertaining, yet ultimately hollow enterprise.
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Many consider a film’s title to be unimportant, trivial even, but the name has long been a key factor in a film’s success. In contemporary cinema the role of the marketer is as pivotal as ever and the title process is increasingly fundamental in a period where a movie’s name can be the difference between a hit and a flop.
Continue reading The 10 Most Misleading Film Titles of All Time
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.
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Low standards won’t be enough to help you here
While I don’t recognise a direct correlation between the violence presented on cinema screens and the horrors a disturbed and spiteful person might wreak in public, it’s tasteless films like Red Dawn – with its senseless glorification of teenage gun violence – that give ammunition to those wanting to make that connection.
Continue reading Red Dawn Review