Back in 1999, The Matrix offered something revolutionary. With a heady brew of William Gibson-influenced cyberpunk, Platonic philosophy and Prada, it proved that blockbusters could be both smart and action-packed. Remember those days?
A brief warning to readers: while effort is made to avoid spoilers, I would advise anyone who has somehow missed the massive amount of online speculation about the film’s plot to not read on. See the film first, and please come back.
Back in 2013, Gina Gershon chewed up the scenery in the daytime movie House of Versace. Focusing on the murder of Gianni Versace, it was a tacky, cheap drama that knew what it was, and was all the more entertaining for it. The same can’t be said of Ridley Scott’s new drama which focuses on an equally prestigious Italian fashion house and a murder.
A classic specimen of the “what doesn’t kill you makes you stronger” school, Bruised is Halle Berry’s directorial debut.
On its surface, a biopic of a late-Victorian artist starring big British talents including Benedict Cumberbatch, Andrea Riseborough and Claire Foy, sounds like typical awards fare for this time of year. Will Sharpe, best-known for directing the dark TV comedy Flowers (starring Olivia Coleman who is on narrating duties for this film), and drama series Giri/Haji, offers just that.
There is an irony in the fact that the most celebrated of auteurs to emerge during Hong Kong’s "Second Wave" of directors in the 1980s did not originate from within the bounds of the administrative region. Born in Shanghai, Wong Kar Wai was the son of a sailor and a housewife. It was only on the eve of China’s Cultural Revolution, as Mao Zedong sought to strengthen his grip on Chinese society, that Wong's parents took the bold decision to emigrate to British-ruled Hong Kong.
Darkest Hour may have been director Joe Wright’s finest hour, but we can say for certain that, despite its impressive cast, The Woman in the Window isn’t.
We’ve all experienced the “fast food film” – enjoyable while we watch it, but realise afterwards it was an empty thrill with little nutritional value. Much rarer is the film that can only be truly appreciated once the credits roll. Black Bear, with its segmented presentation and recurring themes, is one such film. Risky, baffling, and more than the sum of its parts.
I once went to see Motorhead, back in the days when real men didn’t wear earplugs, and afterwards it was if somebody had completely sawn off the top half of my hearing register. Weird and scary, and the band were putting themselves through that every night.