Movies can come carefully constructed to elicit emotion and when packaged appropriately can do so. However, when the audience can feel the pull or the mechanics behind the finished product, it becomes less of a thrilling experience. Breathe, the directorial debut of Andy Serkis, contains many a compelling element and is stitched together for maximum
Movies can be about ideas, they can be about plot. They can be about characters and mood and images and anything you want them to be. What movies shouldn’t be is an amalgamation of all of these that doesn’t allow the film to rise above. Blade Runner 2049 has some incredible and admirable elements but
Incomprehensible from the first frame and devoid of most of the charm that made the first one such a success, Kingsman: The Golden Circle is just a slog of a film that even the brilliant Pedro Pascal and Taron Egerton can’t make totally enjoyable. The Kingsman franchise is very much all about style from the
Man, they just don’t make spy thrillers like they used to. American Assassin, the latest and not greatest entry into the pantheon of American spy films, hit cinemas this weekend with some intriguing elements. A new star, a great character actor, a bajillion book series, were all in play to make the movie work. However,
How does one even begin to review a film like Darren Aronofsky’s mother!, a complete mind fuck of an experience? Well, you’d probably start by cursing like I did, you might attempt to put together coherent thoughts about it like I will, or you could just stew on the film (which you should) because after
Remakes are, and always have been, a staple of not just Hollywood cinema, but film history. Some rise above their previous source material, some don’t. There are few that feel as ill-conceived as Death Note, a poorly slapped together fan fiction film version of what should have been a strong morality tale. Death Note