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
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
Steven Spielberg may be one of the worst things to happen to cinema in a very long time. His production company, Amblin Entertainment, known for crafting films about children in perilous danger, has been shamelessly ripped off and imitated for the past decade. It’s created some of the most piss poor blockbusters films, including Jurassic World, Super 8, Transformers, etc. I will also add that all of the previous films mentioned were produced by Spielberg himself. While Cop Car isn’t involved with Spielberg in any way, we can add another rip off to the list.
Joel Edgerton has been an actor on the rise for some time. With his breakthrough role in David Michod’s debut feature, Animal Kingdom, he showed a charisma that was incredibly infectious and showed that charisma through his other roles in Warrior, Zero Dark Thirty, and various other entertaining, and some not so entertaining films. While he is credited with co-authoring the story for one of my favourite films of last year, The Rover, The Gift is his first major foray into writing and directing a full length feature film, but damn if he doesn’t succeed in creating one of the best thrillers this year.
Mission Impossible has had one of the more interesting timelines in franchise film history. Originally released in 1996, Mission Impossible, a feature length adaptation of the original 60’s TV series, starring A-list megastar Tom Cruise, Jon Voight & Ving Rhames and directed by Brian De Palma, was a huge success that only made Tom Cruise’s stardom blow up even further. John Woo took a crack at it 5 years later with the hilariously abbreviated M-I:2. With minor critical love, but massive box office, JJ Abrams took his shot with the wonderfully entertaining (thanks to Philip Seymour Hoffman’s amazing turn as the villian), Mission Impossible 3 was the jumpstart the series needed again and with Brad Bird’s Mission Impossible: Ghost Protocol, critical reception and audiences were sky-high with the film becoming a massive success (although I can’t say I’m a big fan of the film). Following Tom Cruise’s disappointing box office returns for his more recent blockbusters, Oblivion and the critically acclaimed Edge of Tomorrow (which I loved), the last Mission Impossible seems like Cruise’s last chance to show that he still has the box office draw studios hope he has. But how does the movie itself hold up?
Jakob (Michel Diercks) didn’t want to hunt the wolf that was terrorizing the village he polices. Instead, he fed the wolf. What that means about who he is as a person is the entire provocation for what is one of the most surreal and well-realized fantasy horror experiences I have had in recent memory. The Samurai is a fever dream that doesn’t let up until its explosive conclusion, which brings thoughts of zany movies like Holy Motors and Borgman to mind, but more deftly handled than the latter.