2010s
A remake of the 1969 Italian-French film La Piscine and partly inspired by David Hockney’s ‘Swimming Pool’ painting, A Bigger Splash is the fourth feature film from Luca Guadagnino, and has already made significant waves with critics and audiences alike (sorry for the absolutely appropriate pun). Starring Tilda Swinton as rockstar Marianne recovering from throat surgery, and Matthias Schoenaerts as her ever-loving albeit boring boyfriend Paul, the two of them aim to escape life to an idyllic Italian island in the middle of the Mediterranean. No phones, no work, no interruptions.
It’s no secret that Sacha Baron Cohen makes comedies that age badly, no matter how well-regarded they are upon their release. His reputation as a satirist with his finger on the pulse of contemporary societal prejudices ensures that days and weeks after initial release they become regarded as documents of America’s unforgivable past. With Grimsby, Cohen makes his first British movie in fourteen years, after his execrable debut Ali G In Da House – and it is the first time his brand of social satire feels not just outdated, but tired prior to release.
Even though he hails from a nation renowned for its take on exploitation cinema, director John Hillcoat has repeatedly proven himself to be far more interested with the archetypes of American genre films. His international breakthrough feature, 2006’s The Proposition, was the perfect marriage of the sensibilities of Ozploitation and the most hard-boiled Westerns; for a country with no major cinema heritage, it suggested Hillcoat was a director who could put his nation firmly on the world cinema map. Instead of continuing this distinctive subversion of genre with his subsequent films, Hillcoat has become increasingly formulaic.
The Coen Brothers have managed to put their own twist on noir, the buddy comedy, crime drama, romantic comedies, westerns, and spy films. They are clearly film historians, so they want to show their love of movies by tackling classic genre films that cannot be sold to modern audiences. How did they manage to do this?
I love Pride & Prejudice and I will never tire of its adaptations and interpretations. I also really like zombie films. I am Pride & Prejudice & Zombies’ demographic.
The most damaging and offensive cliché in films that explore colonialism and its effects on indigenous nations is the notion of the noble savage, as well as the white savior. Approaching this film the inevitable trepidations set in, but were soon quelled, as Embrace of the Serpent proved to be simultaneously intelligent and willfully authentic. Director Ciro Guerra film adheres to territorial formalism without subverting the cultural atmosphere and originality.
There is a moment about halfway through Brooklyn when Saoirse Ronan’s character is shown as a distant speck in a giant field of green grass, as if lost amongst the lush vegetation. The moment comes soon after she has decided to go visit her mother in Ireland after a loss in the family; though not immediately apparent, it foreshadows her soon-to-come inner conflict, which will make her question where she truly belongs. Such a gorgeous and symbolic shot is representative of much of Brooklyn, which is far deeper than its relatively straightforward subject matter would imply.
To try and properly describe The World of Kanako is quite a tough feat. So far I have a mix of the youth-filled slaughter of Battle Royale, the rapid-fire non-linear editing of John Boorman’s Point Blank, and the grittiness of Sam Peckinpah’s Bring Me the Head of Alfredo Garcia, smashed together in a blood soaked blender and left to sit in the sun. The World of Kanako is a brutal, convoluted and pop-culture infused neo-noir which punctures a bandage-wrapped fist in the face of decency in delivering its twisted story.
Back in 2013, a prestigious ballet director from the Bolshoi Theater named Sergei Filin was attacked outside his house, and acid was thrown into his face. He suffered third degree burns all over his face and down his neck and was left blind in one eye. After an investigation, it was discovered that a dancer of the Bolshoi paid the perpetrator; the motive was in reference to the casting of Swan Lake in which Filin was responsible.
The world is a terrifying place. Its machinations are convoluted constructions managed by a mixture of public servants or private business people whom we would like to assume have the public’s best interests at heart, but whose true motives are more dubious and difficult to discern. Oftentimes financial imperatives outweigh common sense, and the result is disaster on a massive scale.
I love the TV show Dad’s Army. Originally aired between 1968 and 1977, it is a show that remains hugely popular to this day, and I can watch it every Saturday night on BBC Two and listen to the radio version every Monday morning on BBC Radio 4 Extra. Like all incredible BBC comedies, it makes up a part of the British psyche and its characters and catchphrases are legendary.
It’s impossible to discuss Lamb without being honest about its premise, so let’s start by ripping off the Band-Aid, shall we? Lamb is about a middle-aged man kidnapping an eleven-year old girl. It’s neither exploitative nor overtly horrifying, but its central relationship is inescapably unsettling.
Deadpool is a comic book character with an interesting history. Premiering in the early 1990s, he was originally created as a parody of comics in general, with both the DC character Deathstroke and Marvel’s Spider-Man influencing his name and appearance (Wade Wilson is Deadpool’s real name, while Slade Wilson is the civilian name of Deathstroke). Over the years, though, the character has gained an unusually strong following, even for those that are not typical comic book fans.
On November 23rd 2012, 17 year old Jordan Davis was shot dead inside a friends car at a gas station. He was shot by Michael Dunn, a 43 year old white male, because of an altercation which began when Dunn asked Jordan and his friends to turn down their music. The situation escalated and a few minutes later Jordan Davis was dead.
Aleksei German once said “I am not interested in anything but the possibility of building a world, an entire civilization from scratch.” While “worldbuilding” has turned into a sort of buzz term, it’s fair to say that he did succeed in creating a meticulously detailed world that is as equally claustrophobic and terrifying as it is expansive and daunting. Aleksei German’s final film Hard to Be a God, an adaptation of Arkady and Boris Strugatsky’s novel of the same name, turned into a subject of curiosity given the thirteen-year production, dense source material and the death of the director before the film’s release.