The thing about Straw Dogs is that it is fucking brilliant.
Tideland is a Gilliam film and I made the mistake of watching his intro. Apparently he’s finally found his inner child and it’s a little girl… He’s got to be kidding, right? It’s not that I don’t like this film, or any of his films in fact, it’s just the conceited guff he puts around them. Why can’t he just let them be.
Woody is fabulous as the eponymous lead in Schrader’s The Walker. The film is slow and not the finest filly from Schrader’s stable, but it is lush, rich and seriously stylish as it dabbles in the incestuous political quagmire that is Washington.
Joseph Fiennes should never be cast as a prisoner, The Escapist illustrates this nicely, but nevertheless the flick is still well put together and little bit more clever, in it’s own subtle way, than you may expect.
There is nothing good about All The Boys Love Mandy Lane other than the brief moment where Whitney Able is sans shirt – a moment I’m sure you can find yourself, I couldn’t be bothered. When you do find the still in all its nipply-glory feel free to leave a link in the comments, consider it a public service – I’ve seen the search terms for arrivals on this internet island of mine.
Look a talented homeless person! The Soloist reminds us that those living on the street are people too, but only if they’re a former child prodigy who now has schizophrenia.
The Tree is the sort of film you should watch with your mum, she’ll love it.
More Gosling and more nose bridge squeezing and blinking in Fracture, none of which distract from this being hell of a thriller even if the plot kick at the end is so sign posted it destroys its impact.
If Quantum Leap took a heap of drugs then Source Code might be the result, though Sam would have to go some to find a love interest as hot as Farmiga in uniform.
One thing has been lacking in the cinema I’ve been watching most recently, and that is quality war sequences. Thankfully I saw Mongol, which is fucking full of them! There is some spectacular blood letting on hectic battle fields, all of which is supported by a competent tale of Genghis Khan’s rise to power.