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 →
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 →
Spielberg may have lost his magic touch with adventure movies in recent years (hey there, The BFG) but he’s been on fire with political dramas (hey there, Bridge of Spies). The Post is the latest of the latter, looking back to the past to give us a message for today. Time is a circle, some might say, some might post.
Three billboards outside Ebbing, Missouri, three billboards painted red, three billboards full of questions, three billboards gathering hate. And when you have the whole town against your three billboards, you best hope you’re as tough as Frances McDormand as Mildred Hayes. Or just Frances McDormand… Continue reading →