Gary Oldman
There are some fine performances and strong scenes here and there but the editing darts between so many stories that it’s just begging for a fan cut.
In a transformative paranoia and confined space, The Woman in the Window may not be the best remake of a classic tale, but it is far from the worst.
Luke Parker speaks with filmmaker Nicholas Jarecki about Crisis, his star-studded, three-pronged production based around the opioid epidemic.
Agoraphobic Dr. Anna Fox witnesses something she shouldn’t while keeping tabs on the seemingly picture-perfect Russell family, that lives across the way.
A drug trafficker organizes a smuggling operation while a recovering addict seeks the truth behind her son’s disappearance.
While Mank isn’t David Fincher’s best work, it certainly places quite high in his repertoire.
Follows screenwriter Herman J. Mankiewicz’s tumultuous development of Orson Welles’ iconic masterpiece Citizen Kane (1941).
Steven Soderbergh is back with The Laundromat, a splashy, star-studded look at the world of obscene wealth and financial wrong-doing.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
With the upcoming likelihood of an Oscar for Darkest Hour, we look back at Gary Oldman’s over three decade long memorable career.
With impeccable direction, engaging dialogue, consummate costume and makeup, and one of the best performances ever to grace the silver screen by Oldman, Darkest Hour is an overwhelming achievement.
Despite committed, enjoyable performances from Samuel L. Jackson and Ryan Reynolds, The Hitman’s Bodyguard is tired, cliched and overlong.
THE SPACE BETWEEN US struggles to find its original voice amidst the plethora of recent space exploration movies.
Even though I may make it look like any idiot can do it, writing reviews is far from easy. The hardest things to review aren’t the plot-heavy science fiction movies or the obscure art house efforts with impenetrable plots like you would imagine – the most difficult movies to review are the films that are just plain boring. I watched Child 44 two days ago, where I made up 100% of the audience for that screening – in the two days since, I have found myself struggling to remember quite a lot of it.
The word “gritty” is often used by reviewers to describe films which portray graphic physical violence, lone wolf characters, and probably a line of coke or two. While I feel that’s accurate, my own personal definition for a gritty film differs slightly. If I describe a film as gritty, expect it to be both emotionally and physically violent and draining.