The delight of “The Trip to Spain” is getting back with these two gents who seem to relish a relaxing holiday, badgering one another about their different stages of an extended mid-life existential crisis.
“Baby Driver” is not like any heist movie that you’ve ever seen before. Writer/director Edgar Wright’s meticulousness and mastery takes a keen eye on first viewing to get a hint at the level of fastidious planning that went into every aspect of the film.
“Churchill” is to its subject what the “The Green Berets” was to the Vietnam War. “Berets” attempted to make a World War Two heroic propaganda in the wrong war. “Churchill” wants to humanise the man and instead devolves into a blatantly misleading revisionist history.
Reeves and Bomback may be playing with actors in leotards, and the incredible CGI transformation; but the pleasure of the entire Apes series is that they’re about something. They’re ultimately about the frightening consequence of the human impulse to innovate and explore. They place a fragile humanity in a position that requires empathy and diplomacy, in the face of a threatening circumstance
Christopher Nolan’s latest film “Dunkirk” is a technical wonder. The jaw-dropping IMAX 70mm cinematography from Hoyte Van Hoytema (who lensed “Tinker Tailor Soldier Spy,” “Her” and “Interstellar”), precision editing from Nolan’s regular collaborator Lee Smith and deafening and terrifying sound editing from Richard King et al create a staggering and immersive experience.
Haneke’s “Happy End” is darkly funny, impeccably made and the performers relish being conducted by a master; however it doesn’t have as clear a drive or fervent punch of his other string of incredible works...
In the eighth episode of the latest series of POD SAVE OUR SCREEN Blake Howard reviews “Dunkirk” and welcomes back Dark Horizons’ Garth Franklin to talk how Disney owns everything as demonstrated by D23 and what to look forward to this San Diego Comic Con.
In the seventh episode of the latest series of POD SAVE OUR SCREEN Blake reviews WHITNEY: ‘Can I Be Me.’ and chats with documentarians Nick Broomfield (director of Whitney: ‘Can I Be Me’) and Matthew Salleh (director of “Barbecue”).
It’s the movie of the moment Wright now (please lord forgive me for I know not what I pun). In the country to promote the Australian release of “Baby Driver” at a series of Q&A screenings, I had the privilege of having an interview 2:1 roundtable chat with Edgar Wright alongside The Reel Bits’ Richard (@dvdbits) Gray.
Earlier this week the ABC’s Head of TV drama Sally Riley was thrilled to announce that the Jay Swan detective series that began with Ivan Sen’s 2013 film “Mystery Road” was moving to the small screen in 2018 for “a landmark event.”
In the wake of Sydney Film Festival, where attendees binge of unreleased pedigree cinema from around the globe, I feel like I’m in the best position to assess some of the very best the year’s had to offer; and after seeing Johnny Depp and Michael Bay take a shit on the screens of my local multiplex, the very worst.
If you love movies and you live in the Sydney region who definitely know that for twelve days in June the Sydney Film Festival makes it O.K to abandon life as you know it. Twirling the baton as the ring leader of our cinematic offerings for Sydney Film Festival is director Nashen Moodley, South African born wünderkind programmer and all round great dude who is back for his sixth year curating a blooming and eclectic movie playlist.
Watching the latest Amazon Original Comedy Series “Patriot” from Steven Conrad (“The Secret Life of Walter Mitty”, “The Weather Man”), which is also produced by Glenn Ficarra and John Requa (“Crazy Stupid Love”, “Focus” and “Bad Santa”) I experienced not one but two ‘had me at’ moments.
“American Gods” is a sensual opiate. A flood of rich textures of the American experience are conjured in dreams and memories that echo around the story of a conflict brewing. As ex-convict Shadow Moon and his mysterious employer Mr Wednesday trace the back road portrait of the surface of America the frenzied sacrifice that fuels the older gods are like dizzying visions into a world happening on the fringes of the world we know.
Wait, what? That ever so mythical Hollywood. Is it not the centre of the filmmaking universe? That cultural imperialism has extended itself to the neutral positions in your mind. It immediately echoed Gabriel Byrne's Devil discussion with Arnie in "End of Days." He claims that God had a better publicist; evidently, Hollywood got the same people.
Anotherfilmnerd sits back, pops a red pill (or is it the blue one?) and argues a 'Matrix' reboot won't be the end of the world (the bad kind, that is... not the good kind that frees humanity from its evil overlords).
Middle aged love can come with a lot of baggage. Eva (Julia Louis-Dreyfus) and Albert (James Gandolfini) meet at a swish Hollywood type party and are quick to establish they’re both not attracted to anyone, but then he asks a mutual friend for her number and they go on a super cute (“Did they make the music louder?” “No, you just got older”), albeit slightly awkward date.