With a barnstorming turn from Robert Pattinson, grimy design, and synth-y aural-aesthetic as the film’s selling points, a soundtrack from Oneohtrix Point Never is not the only electric element of the Safdie brothers’ Good Time. This is genre cinema that puts a beating heart at the centre of its twisty, metropolitan plot, before repeatedly ripping it out to jaw-dropping effect. Fantastic.
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‘Choose kind’ might sound like the awkward cousin of everyone’s favourite Trainspotting quote but it is, in fact, the fundamental precept of R. J. Palacio’s bestselling book – and now Stephen Chbosky’s film adaptation – Wonder. Cinema’s answer to positive-affirmation woodblocks (‘You can’t blend in when you were born to stand out’), the new film might not live up to the promise of its name and premise but no one could ever deny that its heart is in absolutely the right place.
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Those under the impression that the meta hip-horror genre had finally crawled back beneath the soil with Scream 4 might find themselves experiencing quite pronounced déjà vu in watching Christopher B. Landon’s Happy Death Day. Mind, they won’t be alone in the feeling. If you’ve ever watched: Groundhog Day, Mean Girls, Halloween, Scooby-Doo, Clue, American Pie, A Nightmare on Elm Street, or, indeed, Screams 1 to 4, this one’ll resurrect familiarity. A chirpy take on the slasher genre – more playful than the Wes Craven send-ups – whilst there’s a lot of fun to be had here, a feature of slightly less eclectic genre pickings would have been very welcome.
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Just one in the latest batch of names in the entertainment industry to be felled by their hitherto unknown depravities is the two-time Oscar winner Kevin Spacey. Horrific that it is to find an actor you’ve admired has ruined the lives of others – and, to a much lesser extent, tainted the memory of some terrific films – it is best to leave analysis to the opinion columns in such matters.
Continue reading Cut and paste casting: replacing Kevin Spacey
If watching A Bigger Splash was like climbing into a jacuzzi and discovering that it may contain a crab, Luca Guadagnino’s third chapter in his so-called trilogy of desire, Call Me By Your Name (which follows the former and I am Love before it), might be considered akin to climbing into said jacuzzi, finding it crab free, being handed a cornucopia of cool, Sicilian lemonade, and then having to remain as the water drains away. It may be la dolce vita, but love stings.
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They’ve made some of the greatest films of all time but even the mightiest of Hollywood directors have been lured by the power of commerce to take on advertising. With the annual Christmas mega-marketing now underway, here are 10 adverts made by the best of the best…
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Bittersweet has rarely felt more apt a description than in the case of Ingrid Goes West, a film both painfully sour in its bitterness and poignantly sweet in its aesthetic. Pitch black humour might make for a biting satire but, in Matt Spicer’s hands, this comes not at the expense of heartbreaking emotional resonance. You’ll never ‘follow’ social media in the same way again.
Continue reading Ingrid Goes West | Review