Stealth is considered by a fellow graduate as his favourite film – clearly ‘favourite’ must mean something else in the land of his origin, I even loath that I’ve posted the below picture, it adds no value, they just look like cretins.
It is all about that steady-cam shot and that green dress – both of which are enough to make this flick, or film, as Atonement is desperate to be, worth your time.
After watching Lost in La Mancha, it is clear why Gilliam despite being groovy and having been part of Monty Python struggles to get creative control and funding for his film’s – he’s a maverick with seemingly plague bringing bad luck – ask the crew chasing equipment in a flooded desert or the bleeding prostate of Jean Rochefort.
There is a moment where this film in concept alone, might, just might be cool, however Smokin’ Aces is a messy shit of a movie – props for Affleck on his bent threads though.
Valentin is a paper thin flick that gets away with it due to a combination of understated comedy, a wall-eyed kid as the lead and some genuine tenderness in the scenes featuring the sharply be-threaded Leticia.
Does as the title suggests with ridiculousness and guns in abundance and the relief of Monica Bellucci – I realise this is less of a review and more of a description, but that is where you are left as a viewer by Shoot ‘Em Up.
It is very easy to fall into the trap of thinking all anime that gets to exist outside of Japan is good, Perfect Blue demonstrates this is a fallacy.
Not terrible by any stretch, but Planet Terror serves as indisputable evidence that Rodriguez will only ever step out of Tarantino’s shadow for moments that are few and far between, sadly most of these have probably already occurred, primarily in From Dusk till Dawn and El Mariachi/Desperado.
From the camp that delivered Superbad, Knocked Up is a step up, managing to be juvenile, intelligent, sensitive, relevant and most importantly fucking funny – check the BTTF refs in the restaurant scene, superb.
Stay is the sort of film that although incomprehensible at times feels fantastic, especially in the moments where reality shifts creepily, something masterfully captured through the use of film mechanics – when this is coupled with an excruciating attention to visual detail in order to add sense to the plot, Marc Forster’s work becomes quality cinema.
