The hitman comedy seems like something that is so played out. Even in the case of Paco Cabezas’s Mr Right, it appears that way too. With a script from Max Landis (Chronicle, American Ultra), everything just feels super conventional and safe. But a by-the-numbers screenplay does not automatically mean the film is garbage, especially in the case of Mr Right. Utilizing great comedic performances from all of its actors, the film is a gleefully violent time hurt only by its need to be unique.
Whimsy and beautiful animation is often not enough to carry a film beyond its initial couple of minutes – which is something that The Little Prince tackles directly. Opening with muted colours and a child with her whole life planned out, the film explores what it means to be a child and adult alike. Even with deeper explorations of themes than most family films, this is still a wild adventure that makes up for a lack of subtlety by the time it reaches its heartwarming conclusion.
Seriously, how could two Tom Hardy’s go wrong? The actor behind the Mad Max revival, or the ridiculously fun role of Bane on The Dark Knight Rises, and he was absolutely perfect in Nicolas Winding Refn’s early masterpiece, Bronson. Joining with writer/director Brian Helgeland, Hardy has crafted two performances behind the supposedly legendary Kray Brothers, two siblings that ran the criminal underworld in Britain throughout the late 60’s and early 70’s. What is immediately apparent, is that these men may have been interesting back then, but their story has become derivative and the performances don’t fare much better. Continue reading →
Myroslav Slaboshpytskiy’s debut feature may be among the most frustrating film in years, for a select group of film-goers. Those select film-goers being the general public, but this movie seems to have been made for a specific type or person, the Arthouse snob. The Tribe is a beautifully shot and authentic feeling european film that harkens back to the silent era mixed in with the harsh reality of now. Make no mistake, The Tribe is, on the surface, an incredibly pretentious film, but it also stays increasingly fascinating over the course of the 2 hour and 20 minute running time. It turns out that making a movie using only Ukraine Sign Language isn’t as off putting as it sounds. Continue reading →
The Hunger Games franchise has lit up the cinematic conversation towards films directed for young people and women as an untapped market for large blockbuster films. Thanks to the surprisingly well done performances from Jennifer Lawrence across the board and some worthy direction by Constantine director and every Hunger Games film except for the first, Francis Lawrence (no relation to Jennifer), this franchise has tapped into the aforementioned market and made the series increasingly watchable for fans of these types of films. And after saying all of that, I should tell you that I have not enjoyed any of the prior Hunger Games films, nor gotten more than half an hour into the prior Mockingjay film. But I will also say that I was in for a surprise as to how much I found interesting in the final instalment. Continue reading →
The single take or one shot sequence, or whatever you want to call it, has been a consistently celebrated use of filmmaking to create a sense of reality or hyper-realism. The single take has been around almost as long as filmmaking actually has. From Hitchcock to this film, it has consistently gained more and more love from the critics and audiences themselves. But of course, the next logical conclusion from creating a small one take sequence to one that’s even longer is finally making a movie all in one uncut sequence. It takes a lot of discipline, but with a number of rehearsals and dedicated cast & crew, it can create a seamless feeling throughout the entire film. And that’s what Victoria does effortlessly. Continue reading →
James Bond is in a constant need to prove he’s still hip, current, and not obsolete. It’s not like anyone ever really thought that he was. But nonetheless, he has to prove to everyone that he isn’t. He’s already proved it to people who love poker, people who like deserts and shitty action sequences, and then people who love Javier Bardem chewing scenery and gay overtones in the relationship between Bardem’s Silva and Daniel Craig’s Bond. Now Bond is back to prove that once and for all, he’s with it, but now he has to tell it to Christoph Waltz and an unsubtle version of the NSA. Continue reading →