terrorism
Action cinema is a pain to bring to light. Let’s be clear that every film is difficult to make and they all have inherent problems, ranging from little to gigantic nuances. But action takes the cake when it comes to painstakingly long hours and the mundane repetition that is required to capture the choreography of a scene just right.
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.
Even though he’s often stereotyped as solely a director of inferior British gangster films, based on his first two releases Lock, Stock and Two Smoking Barrels and Snatch, Guy Ritchie is actually more of an experimental director than you may initially realise. Even though his early films were successful and enjoyable guilty pleasures, Ritchie had something of an insatiable need to be taken seriously, looking towards the European arthouse for inspiration. His third feature Swept Away, starring his then wife Madonna, was a remake of a satirical 1974 Italian film not widely known to international audiences.
To the eyes of international audiences, Nordic countries are stereotypically relied upon to produce gruelling, depressing thrillers, movies in the vein of Sweden’s The Girl with the Dragon Tattoo and TV shows in the vein of Denmark’s The Killing. One country that seems exempt from the current cultural fascination with “Nordic Noir” is Finlan. Whereas other (mostly Scandinavian) countries in Northern Europe are importing their grim and gripping thrillers worldwide, Finnish cinema seems to be playing to a different trend entirely from their neighbouring cousins.
Although it may not be for everyone due to its pitch-black tone, Wild Tales is a film that I imagine everybody who sees it can relate to in some way. It is a film about one of the most basic human emotions, one that is rarely the central emotion of any movie: anger.
Although many are still reeling from the aftershocks of the Sony hacking scandal, the growth of the cybercrime era had actually reached red alert long before the North Koreans. It is quite frightening to imagine how a person could be as deadly as a nuclear weapon with just one click of a keyboard, and it remains a problem unresolved by international governments. As always, Hollywood’s part on this is to jump on the bandwagon, establishing a new genre of its own with collective bits of movie magic in order to turn in easy money for film studios.
When the Oscar nominations rolled in on Thursday, perhaps the biggest surprise – other than the snubs for Selma – were the six nods including Best Picture and Best Actor for American Sniper, a movie which few expected to be in the running after getting no attention from the Golden Globes or BAFTAs. There was an even bigger surprise a few days later, when it was announced that the film drew in a stunning $89 million in its opening weekend, which is more than most of last year’s summer blockbusters. The Iraq War drama snuck up on the awards race out of nowhere, and shattered January box office records beyond all expectation.
“Dulce et decorum est pro patria mori” – Horace “It is sweet and right to die for one’s country”. Most famously, and aptly, used by the World War I era poet Wilfred Owen in his poem, “Dulce Et Decorum Est-,” about knock kneed soldiers slogging through dirt and grime within dangerous trenches on the European front. The quote is haunting in both Owen’s and Horace’s context, even if it also belies a satirical edge.
The director of Training Day (2001) (a respectable movie to say the least) has made the most hilariously ridiculous, cringe-inducingly bad movie I’ve seen in some time. Boasting a cast of renowned actors like Gerard Butler, Aaron Eckhart, Morgan Freeman, Angela Basset, even this ensemble could not save it. Olympus Has Fallen opens on Christmas eve, showing a happy president, a happy first lady, a really happy kid, happy bodyguards – until something awful happens (of course).
Robert Downey Jr. returns once more as the extravagant Tony Stark and Iron Man. In this third installment of this popular super hero franchise, Tony Stark faces a pretty tough terrorist with (really cool) super hero powers of his own.