Tom Hiddleston
The mercurial villain Loki resumes his role as the God of Mischief in a new series that takes place after the events of “Avengers: Endgame.”
For a studio whose storytelling style and command of visuals is so wonderfully inventive, in Early Man they’ve opted for the laziest, most obvious narrative trajectory imaginable, without even a winning sense of humour to back that up.
Salamis Aysegul Sentug examines a trilogy of movies that not only embrace the art of night but also celebrate it as a field of creative space where artists and writers venture out.
Thor: Ragnarok may be a fun time, but it’s also disruptive to the MCU as a whole, trading real drama and storytelling for cheap laughs.
In the age of over-bloated Hollywood tentpoles and remakes, Thor: Ragnarok is truly King of the…
Kong: Skull Island is fleeting entertainment, but given its massive budget and the audience’s predisposition to Kong, that’s not a terribly impressive feat.
There are few novels considered “unfilmable” that haven’t been translated to the big screen. High-Rise, director Ben Wheatley’s adaptation of J.G Ballard’s cult 1975 sci-fi novel, is the rare movie adaptation that doesn’t feel like it has been adapted, so peculiar and distinctive to the director is the increasing foregoing of narrative in favour of societally depraved surrealism.
While most genre filmmakers have a hard time choosing between style and substance, Guillermo Del Toro has become the best filmmaker in the fantasy genre by giving equal weight to the visual design and emotional weight of the narrative; both complement each other in the best of his work. Even in a simple blockbuster movie like Pacific Rim, the substance is always there to be seen due to the clear love for the old-school Kaiju movies that inspired it – to date it is the only major studio tentpole blockbuster that feels like the personal passion project it was devised as. Crimson Peak is Del Toro’s return to gothic fantasy, his first film in the English language that could be comparable to his two Spanish Civil War fairy tales, The Devil’s Backbone and Pan’s Labyrinth.
Last weekend I attended a screening of Jim Jarmusch’s latest production, Only Lovers Left Alive, at the Luna Leederville Cinema here in Perth (which, by the way, is a beautiful original 20’s art deco cinema). While I’ve only seen two of Jim Jarmusch’s movies (Coffee and Cigarettes and Dead Man), Only Lovers Left Alive has Jarmusch’s distinctly recognizable style: it’s dark, pretty, it’s gritty, and very witty (how’s that for rhyming?