For me, few films have been as memorable as The Neon Demon, a stylish psychological horror from Nicolas Winding Refn. The chilling story, stunning aesthetics and pulsating score made this movie one of the most incredible experiences I’ve ever had in a cinema.
Sebastian Schipper’s acclaimed Victoria boasts one of the most ambitious and ballsiest directorial decisions imaginable: the whole 138 minute film is shot in one continuous take.
When I first heard about Victoria, it made me cast my mind back to Richard Linklater’s Boyhood. Both claimed to be “revolutionary” – Boyhood with its ‘filmed in 12 years’ USP and Victoria with its single-shot USP – which made me eager to see them, but Boyhood turned out to be a massive disappointment. Continue reading ‘Victoria’ Review: A Single-shot Success→
You don’t need me to explain to you what this one’s about; everybody knows the tale of loveable man-cub Mowgli and his adventure through the jungle with Bagheera and Baloo. In fact, you’re probably humming The Bare Necessities in your head right now.
For me, Disney’s animated classic The Jungle Book was a childhood favourite, so I was initially skeptical when I heard that a live action remake was in the works. Understandably so, considering how rubbish some of the other recent big-budget ‘re-tellings’ have been. (I’m looking at you, Cinderella.) Continue reading ‘The Jungle Book’ Review: Bravo, Favreau→
10 Cloverfield Lane is a frustrating watch. There are moments that really have you on the edge of your seat, and the concept is an interesting one. Unfortunately, the movie tends to be clunky and never builds up a significant head of steam. Here are my thoughts on why it didn’t quite work for me, as well as some of the things that did. Beware, spoilers!
1) John Goodman is fantastic!
I’ve always been a fan of John Goodman, albeit without seeing too much of him. My fondest memories of him are from his early Coen Brothers work, as well as his involvement in the Golden Age of Pixar.
Get ready for an idiot talking about one of the most intelligent films of the year.
Anomalisa is a film about Michael Stone, a customer service expert who sees all other humans as exactly the same. Away from his wife and son, he hears Lisa, who has the only discernible voice in the movie apart from his own.
First, some context. Anomalisa was released in film festivals on 4th September 2015. It was then released theatrically in America on 30th December 2015. Then Canada, then Germany, then Portugal, Poland, Brazil, Peru, Sweden…
I’m bending the rules with this one; for one night only ‘Movies With Marsh’ is becoming ‘Netflix Original Series With Marsh’. That’s because of the recent premiere of Flaked, a comedy-drama series from the minds of Will Arnett and Arrested Development’s Mitch Hurwitz.
It’s undeniable that Arnett is the driving force behind the show, and it’s understandable to see why he was billed as the star. He lent his voice to the popular series Bojack Horseman and frequently stole the show in the re-boot of Arrested Development. Both of these hits have made him a bankable Netflix actor.
After a summer of big American blockbusters, it’s a nice change to see some smaller, British films being released at the cinema recently. There’s the comedy-drama Pride, which won at the Cannes Film Festival, and of course the box-office-smashing Inbetweeners Movie 2. I opted to watch The Riot Club, an adaptation of Laura Wade’s play Posh.
The film is about the titular and fictitious – although allegedly based on the ‘Bullingdon Club’, of which David Cameron and Boris Johnson were former members of – ‘Riot Club’, a group of ten posh Oxford students who engage in heavy drinking and criminal damage. This most often leads to, as one of the main characters puts it, a “chunderstorm”.
‘The style of a Tim Burton film, the substance of a local pantomime’
‘Maleficent’ has two main strengths: Angelina Jolie’s performance and it’s dazzling special effects. However, this is contrasted with an extremely weak script which seems more like a pantomime version of Sleeping Beauty, rather than a Hollywood blockbuster version of it.
I thought I would be at a disadvantage going into the cinema as I have not watched the original animated Disney Sleeping Beauty, and I was fearing the worst when a voiceover immediately referenced the original fairy tale, of which I am only vaguely familiar. However, I wasn’t confused at all during the movie and the new plot seemed to be just as fresh to the people who had seen the original – for this it must be praised.