Dan Gilroy’s third feature as director, Velvet Buzzsaw, has the all strengths of his first, Nightcrawler, and flaws of his second, Roman J. Israel, Esq. It’s a pulpy, viciously entertaining hodgepodge of a film, benefitting from bountifully thrilling conceits but suffering from the lapses of a frustratingly potholed script. At every turn, an a-lister is to be found revelling in roles that demand performative excess and there is great joy to be had in witnessing the ascent of Zawe Ashton to the big time. If only the script were smarter, this would likely be an all-time horror classic.
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We’ve all got our favourites. You know the ones, those Christmas films that come out once a year to warm our hearts on cold winter nights. With many of these available to watch on Netflix, Amazon Prime and Sky Go with subscriptions, we’ve rounded up the best of the best.
Continue reading Where to find your favourite Christmas films online this December…
There’s no denying Kurt Russell’s credentials as cinema’s coolest Santa. Whereas Richard Attenborough gave the legend a twinkle and Tim Allen made him an everyman, Russell offers a wry, Elvis impersonating twist. It’s a bummer, then, that the film around him is so bloomin’ lame.
Continue reading The Christmas Chronicles | Review
True Scotsman and genre maestro David Mackenzie was always going to produce a more measured take on the historic Scottish fight for independence than Mel ‘Braveheart’ Gibson. It comes as no surprise then that Mackenzie’s tale of love and war is as stark as it is occasionally syrupy and much more politically dense than Gibson’s Oscar-winning epic.
Continue reading Outlaw King | Review
In another dimension, there is a phenomenal alternate version of Julius Onah’s The Cloverfield Paradox. It’s a parallel universe in which a paired down iteration of Oren Uziel’s script grants its gift of a cast one concept to run with and they take it into hyperspace. Unfortunately, time and space have fractured and that film has collided with a dozen others to produce a more unwieldy monster. Continue reading The Cloverfield Paradox | Review
For about seven minutes – certainly no more than ten – The Foreigner has something going for it. There’s the promise of a seriously stirring turn from Jackie Chan and the reunion of Pierce Brosnan with his GoldenEye director Martin Campbell. Perhaps that’s why the misjudged so-called thriller which follows proves quite so insulting?
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A grim resolve opens Dee Rees’ Mudbound. Gloomy skies pry above and a grave is dug below. ‘We’re not going to make it’ says a man to his brother, ‘We will. We have to’ comes the reply. By the time the pair discover a long-buried slave’s skeleton, a tone has been set and a direction established. What follows is something of a spiritual sequel to Steve McQueen’s 12 Years a Slave, bolstered by terrific performance and a solemn morale which hits hard.
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