Continuing my countdown of my favorite films of 2017, a really amazing year at the movies. Continue reading
I thought 2016 was a good year to go to the movies bowling a vicious curve ball right at 2017’s shins. But 2017 has absolutely hit it out of the park. So good has the year been that some tremendous movies failed to make the cut despite being (I thought) near certain top 10 contenders when I saw them. Movies I loved like Logan, Get Out, and T2: Trainspotting just got edged out but a rewatch could make me regret not including any of them so slight are the margins that films in the bottom half of my top 20 are virtually interchangeable.
Here are numbers 20-11… Continue reading
To celebrate the release of David Lynch’s Twin Peaks: The Return on Blu Ray on December the 4th, here is a second guest blog by Jacqui Barr following her Mad Max: Fury Road piece which remains the most popular thing I’ve ever posted on here. Enjoy.
!!!WARNING: SPOILERS AFTER THE JUMP!!!
Darren Aronofsky’s new film mother! arrived in nachoplexes this weekend (15th September) carrying a huge weight of anticipation following a carefully calibrated and secretive marketing campaign and a premiere screening at the Venice Film Festival that provoked both applause and catcalls from the audience (at least at the early morning press screening). Now sooner did it arrive than it died at the box office, opening below projections with a reported $7.5m in the US and achieving a rare F from Cinemascore, the lowest possible rating from the site that polls opening weekend audiences in the US as they leave the theatre.
Equating the worth of a movie to its box office success is something only idiots do, but it is interesting to consider why Aronofsky’s film has received such a rough reception from audiences whilst simultaneously being generally well received by critics. That is what I’m going to try to do with this blog whilst also discussing the film, and my personal interpretation of its meaning in depth.
In order to achieve this, I will thoroughly spoil the film. So if you haven’t seen it and you intend to… do not read past the jump. In fact, even if you don’t intend to see it, don’t read past the jump. Because who knows, one night you might stumble over it in late night TV, or find it as an in-flight movie (a hilariously unlikely prospect, but you never know). Trust me, you should see this film as cold as possible for it to realize maximum effect. Continue reading
This started as a review of Hounds of Love, and has mutated into a meditation on genre. It’s a bit rambling, and once again I wish I could afford to pay someone to edit this stuff, but I hope those of you interested in horror and the fringes of the genre find something of interest in it. Continue reading
Fresh from viewing just this morning – so excuse the typos I know are going to be in there – here is my review of Edgar Wright’s glorious new thriller Baby Driver. Strap in. Continue reading
Coming to UK screens off the back of huge box office success in the US, low budget horror film Get Out is destined to be one of the most talked about films of the year. Review follows… Continue reading
There follows a review of Mel Gibson’s triumphant return to the director’s chair Hacksaw Ridge. If you are looking for a review that will psychoanalyse Gibson you will be disappointed. I am entirely unqualified to go there, and will stick to discussing the actual film. Which is terrific. If you have followed Gibson’s fall from grace (and who hasn’t?) you can see Hacksaw Ridge and draw your own conclusions as to whether it is the work of a man actively seeking redemption or not. Continue reading