based on book
Frank Sinatra, whose 100th birthday would have been this December, was one of the great entertainers of the 20th century. He had an exceptional voice that made him perhaps the most influential vocalist in history, but Sinatra doesn’t sing a note in his best movie, the Cold War thriller The Manchurian Candidate (1962). This deft political drama, which wouldn’t have been made without Sinatra’s intervention, uncannily predicts many of the tumultuous events of the 1960s and beyond.
On a chilly night in November 1959, two desperate young drifters slaughtered a family outside Holcomb, Kansas for $40, a pair of binoculars, and a transistor radio. The macabre slayings and the manhunt, trial, and execution of the pair of “natural born killers” who committed the crimes gripped the nation. Celebrated writer Truman Capote published a bestselling book about the case called In Cold Blood that was turned into a gripping 1967 movie, which is one of the best of the later film noirs.
Most directors have a recognisable style that characterises their movies, giving them a distinctive visual stamp that claims it as wholly theirs. Todd Haynes is an unusual director in that his style differs from movie to movie, fully committing to replicating different genres and bygone fashions to the extent that he has no distinctive visual style that claims any movie as distinctively his. With Carol, he has made a period drama not entirely dissimilar from his early film, 2002’s Far From Heaven.
Although initially derided as nothing more than a rip-off of similar dystopian novels (and their subsequent film adaptations) The Running Man and Battle Royale, author Suzanne Collins saw her book series become increasingly popular due to how it tied in with the contemporary societal fear of graphic violence co-existing with inane entertainment. Collins devised the idea for her original 2008 novel whilst at home channel-surfing, with the image of a bleak reality showcased by war reports on news channels making an uneasy bedfellow with the artificial reality of TV talent competitions. A dystopian fantasy that now closely resembles our reality As the adaptation of the final chapters in Collins’ trilogy closer Mockingjay Part 2 makes its way to the big screen, it is less than a week after the world was left horrified by images of terrorism in Paris.
I’m a big fan of a well-made sports biopic. Not being very athletic myself but fascinated with the world of sports science and laws of probability, I find I have a great interest in ‘the field’. That is why I was very excited to see that a biopic was being made of Lance Armstrong’s doping scandal and much heralded fall from grace.
The tale of survival is a common one in the world of film. These stories present harrowing experiences that an individual or group must overcome before finally seeking rescue by the end. What these films rarely discuss, though, is the aftermath of the experience:
In The Dressmaker, set in 1950’s Australia, Tilly (Kate Winslet) returns to the small rural town she grew up in, to find closure and to take care of her ill mother, Molly (Judy Davis). When Tilly was ten years old, she was sent away after she supposedly killed a boy – although she cannot remember what happened. She spent twenty years travelling around the world, from Melbourne to London, from London to Italy and Spain, and eventually, Paris, France, where she studied at the great Parisian Couture Houses, and became an expert dressmaker.
Horror movies geared towards the younger generation are sometimes hard to come by, likely because a large portion of kids do not like to be scared. To make a horror movie for kids, then, you have to somehow tread the line between scary and lighthearted. Luckily, Goosebumps finds that balance, managing to capture not only the charm of Stine’s work, but the scares as well, without straying too far in either direction.
Miss Giddens (Deborah Kerr), the new governess for two orphaned children in Victorian England, arrives at their idyllic country estate in the beginning of the psychological horror film, The Innocents (1961). The naive young woman, who has a lived a solidly middle class existence as a vicar’s daughter, marvels at the stately home and spacious grounds. Everything, including her two young charges, seems innocent and perfect.
A young Montana boy named T.S. Spivet leaves his rustic home and heads to Washington D.
Think of this logline: based on the novel (title), a teenage protagonist is forced to battle his/her way through a dystopian surrounding. Does this sound familiar to you?
I flipped the final page of Andy Weir’s “The Martian” a couple of weeks ago. Thousands of other people have done the exact same thing since, and we all had similar motivations. I didn’t do it because I had heard good things about the book (at least, that was not the primary reason); rather, I did it because Ridley Scott’s adaptation of the book will be released in theaters this October.
What inspired me to begin this series was actually the knowledge that Harper Lee, the author of To Kill A Mockingbird, was going to be releasing a new novel called Go Set a Watchmen. As I had remembered being fond of Lee’s writing, I was planning to read it. (I still have not, but am hoping to get to it after this).
Paper Towns is an adaptation of John Green’s book of the same name. You may already have read or watched his highly successful The Fault In Our Stars, and have come back for more. Why wouldn’t you, he’s John Green?
I’m not now, nor have I ever been, a teenage girl. I’m not even a teenager anymore, and chances are if you’re in the UK and tried to see The Diary of a Teenage Girl, you won’t be either. Thanks, BBFC.