At the cinema you gotta have a creature feature. The audience loves a good monster, one which can get your skin crawling from scalp to toe. I love it, you love, we all love it! And in our current days of cinematic creature gazing, no one understands the monster more than Del Toro. He breathes monsters, eats them up, spits them out, and loves them so. The Shape of Water shows us just how much love he has to give. Wet kisses all round. Continue reading →
The 2015 incident on the 15:17 train to Paris is one of those rare instances of the heroes prevailing against terror without a death toll to go with it. Of course the struggle on board the train between three Americans and one gun-toting terrorist (A Frenchman and a Brit were also involved but…) makes for one grand cinematic set piece, and so Clint Eastwood has taken directional duties to relive the events, and everything leading up to it. With the actual Americans involved playing themselves. Go on…
It’s been a while since we’ve had a film which perfectly depicts Manchester as a city, and few come closer to just what it’s like than Early Man, taking us back to the Stone Age when Manchester was a pit of turmoil and football. Some things just never change. Continue reading →
Pixar as a company tend to be ahead of the curve when it comes to making interesting animated concepts, from bugs to toys. But with Coco, the Day of the Dead related idea already feels done to death in popular culture, spanning numerous films and bars. But what Pixar have that others don’t, when they aren’t making Cars, is that ability to make those death masks feel like their own. So let’s celebrate The Day of the Dead, once more, with new vigour!
Gary Oldman is one of those chameleons of cinema, dramatically changing in appearance from film to film. His shifts are always surprising, and sometimes you have to double-check to make sure it really is him in front of the camera (True Romance, seriously, that’s him?!). Darkest Hour presents us with his latest transformation to the British Prime Minister during World War II, warts and all.
This will always be known as the film which scrubbed Kevin Spacey from existence, it will never escape such a fate. And yes, replacing the actor last-minute with Christopher Plummer is a feat worth talking about, but what of the movie itself, and how it depicts another true event that people have been talking about for years, long before Spacey diddled? Continue reading →