Movies that focus on the achievements of a ‘great man’ in public life or the arts are generally content to follow the least provocative path of hagiography. Wishing to be reminded of their hero’s finer qualities, it is what most punters queue up to see.
Among the prozzies and revellers and the demi-monde painted by Toulouse Lautrec, you will sometimes find the striking figure of a solitary African.
As with the equally rotten Rough Night, the makers of this execrable piece of stupidity have put as much imagination and thought into the title as they have into its brainless script.
A number of Daphne Du Maurier’s novels have been successfully adapted for the cinema. Jamaica Inn (1939), Rebecca (1940), The Birds (1963) – all directed by Alfred Hitchcock – and Don’t Look Now (1973) had in common an unsettling, threatening strangeness about them.
Subtitled The Moderate Rise and Tragic Fall of a New York Fixer, this is a film of poignant, at times cringing, humour and acute observations of how deals are done – ie, it’s not what you know, it’s who you know if you want to get ahead. Norman Oppenheimer (Richard Gere) is a wannabe mover and shaker, forever trying to get his foot in the door of the Big Apple’s elite.
There will be a special screening of a fine new Australian film at the Brunswick Picture House at 7pm, Thursday 6 July.
There’s a lot of squealing in this, and almost as much alcohol consumption and cocaine snorting… but with none of the women involved showing any sign of being affected by the substances. Basically, the movie is a copy of The Hangover, only with girls acting the goat – meaning that it is rude and crude and sometimes funny, if in a try-hard way.
When was it exactly that ‘old school’ usurped ‘old fashioned’? The latter is far more applicable to this sumptuous period piece than the lightweight former, as Terry George’s eye-opening historical drama evades potboiler status but plunges unashamedly into diatribe.
Modest in presentation, gentle in tone but high-minded in its goal, this prosaically titled movie from Mike Mills is streets ahead of any other screen offering at the moment.
Ancient Egypt should be a treasure trove of material for filmmakers. It was a brilliant culture with a long, recorded history – the hermaphrodite pharaoh Akhenaten (truth is stranger than fiction) and the boy king Tutankhamen, Hatshepsut the queen and the mighty Rameses II are just a handful of characters that any scriptwriter would love to work with.
There is a lot more to like about this blockbuster than you might initially think. In fact, if you disregard the first and last fifteen minutes, you could even say that it is pretty good – or at least a cut above the usual superhero drivel.
Lowbrow does not necessarily equate with bad. Which in this case is just as well, for the adaptation to the big screen of David Hasselhoff’s unfathomably successful TV series is about as lowbrow as it gets.
If you think that some actions are simply unforgivable, you would be infuriated by a movie that is little more than an insipid exercise in marketing for Christianity. The timing of its release, just days after the slaughter of the... Read More →
For time out of mind, the climax of any story would be withheld until all avenues of character development and plot turnings were explored. Not any more. The diminished attention span of today’s audience and its craving for instant gratification... Read More →
The cinema experience these days, especially at blockbusters, is often akin to being seated in a feed-lot, as punters noisily stuff their faces with chips and popcorn – the bloke in front of me today brought a foul-stinking Subway sandwich... Read More →
There is just one little thing wrong with this movie – the casting. That Hugh Bonneville doesn’t look a bit like Louis Mountbatten is not nearly so distracting as the fact that (for many of us) he will forever be... Read More →
It’s not every day that this reviewer agrees with a movie’s rating out of 10 on IMDb, but the 2.2 for this vile little concoction is hard to argue with.
The lasting impression made by Prometheus (2012) was that director Ridley Scott is more comfortable in ancient Rome than outer space. Confused and confusing, it was ordinary at best.
You don’t often come across an otherwise standard horror/mystery flick that includes strident and, for white liberal audiences, discomfiting social comment. Writer/director Jordan Peele, an African American, has made a movie that holds a mirror to our bourgeois self-esteem and... Read More →
The title and previews were a worry, but when I saw that this movie had been directed by Lasse Hallström I came to it with some confidence that it would not be overly mawkish. My Life As A Dog (1985),... Read More →
Michael Caine is eighty-four years old, and he looks and acts every day of it in an underwhelming comedy that is as stale as last week’s bread.
If it weren’t for the ear-splitting excesses of the climactic scenes, this reviewer would have to eat humble pie and concede that the latest from the endless production line of Marvel super-hero fantasies is pretty good.
There is a tendency to view a lot of films from an earlier period as unsophisticated, if not downright hokey.
Every good movie has one great scene. In this it comes when the locum in a nondescript French village finds herself on a bootscootin’ dancefloor while a twangy country band plays Ghost Riders in the Sky.
The things that you’ve never heard about… high on the treeless steppes of Kazakhstan, the tradition of capturing and training golden eagles to be then be used for hunting has survived for time out of mind. Typically, it is strictly... Read More →