Compelling, ruthless and morally challenging, Captain Phillips is an astonishing piece of work.
Frank Zappa once remarked in 1989 “it isn’t necessary to imagine the world ending in fire or ice – there are two other possibilities: one is paperwork, and the other is nostalgia.” Equal parts prophetic and overtly dramatic, it’s an idea that has certainly rung true. Especially when considering the last twenty years of cinema: remakes have ruled and endless sequels have been the candy for the major studio’s craving of bacon.
Most of Alan Partridge: Alpha Papa thrives on Coogan’s ability to bring Partridge to life and the actor completely fades into the character.
At the core of Bethlehem, set within the Palestinian governed city, is the relationship between Razi (Tsahi Halevi, charismatic) and Sanfur (Sahdi Marei), which extends beyond that of officer and informant and has become almost like a father and son bond.
Prisoners attempts to be some kind of family drama that rolls in the same moral quagmire as Taxi Driver and positions Keller as if John Rambo was ever a family man living out in suburbia Pennsylvania.
“Infernal Affairs for the dumb crowd … but there is still plenty to admire.”
Two reasons why 2 Guns excels: Washington and Wahlberg. Unfortunately, their collaboration is squandered.
Rush will find your inner petrol head as you’re faced with the reality that there’s a knife’s edge between death and glory.
The Bling Ring gives you the feeling that you can reach out and slap these zombified teens out of their apathy – unfortunately you’re restricted to your seat and to your judgement – Coppola makes you work.
The Place Beyond the Pines is a heart-wrenching epic poem that quashes the delusion that sons won’t be affected by the actions of their fathers.
During a raging Metallica concert, a live performance and recording by the gods of metal themselves, a young roadie named Trip (the great Dane Dehaan, star of Chronicle, The Place Beyond the Pines) is sent…
In order to be the best, you’ve got to beat the best. Rush embodies all the zest of the aforementioned motivational line to promote rivalry as a path to self-improvement. The competition between Formula-1 drivers…
First and foremost, Hanks gives an incredible performance, and this amazing story has been given a fitting dramatisation – albeit one of nerve-shredding authenticity, and predominantly free of Hollywood dramatic manipulation and U.S ‘save-the-day’ bravado – by the gifted Greengrass.
Gravity is a film that pulses along with every fibre of your being; it’s as if Alfonso Cuarón has tapped into the building blocks of our DNA and prodded the psyche. Every intense step of the journey results in a cinematic baptism that highlights the extraordinary accomplishment of life itself.
I remained engrossed throughout, stunned by how the terrain was photographed, the understated score, the brewing tension that sneaks up on you…
Outside of the die-hards though, very little is on offer.
In the space of a couple of weeks, cinemas will play host to two films of a very similar nature: A Hijacking and Captain Phillips. Both films concern the, well, hijacking of a freighter by Somali pirates. But this synopsis is where the sameness ends. Both succeed for different reasons and both endings will leave you jaw agape, writhing on the floor in shock
Not since Ridley Scott (Alien and Blade Runner) has a filmmaker done more for the Sci-Fi genre. Gravity is undeniable. See it on the biggest screen possible, you will feel the epic profundity of being lost in space.
R.I.P.D is the film adaption of a small Dark Horse comic property, which at face value is Men In Black with ghosts. It may look like something that you’ve seen before (and you kind of have) but with deft direction, the primal allure of redemption and lightning pace; prepare for a surprisingly entertaining ride.
The Turning is pitched as ‘a unique cinema event’ and it’s an offer not to be refused.