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We knew things would change once Disney got a hold of Star Wars, and as utterly delightful as The Force Awakens was, it was basically the equivalent of clearing the first hurdle in a long race. After all, Disney operates under the ‘keep doing it until everyone hates it’ business model, and the company has made it abundantly clear that fans will be getting new Star Wars movies until they stop turning a profit. The thing is, that’s never been what Star Wars is.
They did it with asteroids, and they did it with Snow White. Now, we’re inexplicably getting two takes on the story of Florence Foster Jenkins, a wealthy New York socialite with a terrible singing voice. The French version, Marguerite, plays more loosely with the facts, while this U.
Before Mads Mikkelsen became an international star as the blood-weeping villain in the James Bond film Casino Royale, he had established himself as one of the most prominent actors in his home country of Denmark, by working with some of the best talent the country has to offer. He got his start on Nicolas Winding Refn’s Pusher series and has appeared in every film that award-winning Anders Thomas Jensen has directed. To this day, he continues to balance his international work with Danish films, and with Jensen’s return to the directing chair after a ten year absence, Mikkelsen returns as well to keep their long-standing collaboration alive.
Over one million people crossed into Europe in 2015, more than three times the amount from the previous year, overwhelming existing systems and leaving the EU struggling to agree on a unified approach to the crisis. Some countries have tightened their border control, citing old, xenophobic fears that ignore the flesh-and-blood people sitting on their doorsteps. It’s a perfect time, then, for films like Dheepan, which tell small, humanistic stories of immigrants that make us remember the individuals at the heart of this crisis.
Every Tuesday Film Inquiry publishes the movies that are opening in cinemas! This week: Hardcore Henry, The Boss, Demolition, The Invitation, Louder Than Bombs andMr.
A strange and unfortunate thing happened during the run of the American television series Spartacus. The blood and sex-filled show had to delay production and recast its titular lead due to actor Andy Whitfield’s cancer diagnosis. This injection of reality into a pulp show is incongruous, as these situations often are for television series.
So you like John Gallagher Jr., huh? Well, get ready to have that emotion shaken, because in Hush he abandons his usual affability to play a killer toying with a deaf and mute woman.
For the record, I love how much Sam Rockwell we’ve been getting lately. We all know he’s one of the greats, acting in every genre under the sun and excelling at them all. With Mr.
Everyone was shocked by how good The Lego Movie was. Everyone, that is, except Warner Bros. They seemed prepared for success, quickly release a schedule of spin-offs and sequels that would usually cause all sorts of concerns about low-quality cash grabbing, except that’s what many of us thought about The Lego Movie, and boy were we wrong.
Trailers are ruining movies. Okay, maybe that’s a bit harsh, but they sure are not helping matters. With Batman v Superman right around the corner, the usual fanboy feelings I would be geeking out over are mostly subdued because the trailers have shown so much (i.
Every Tuesday Film Inquiry publishes the movies that are opening in cinemas! This week: God’s Not Dead 2, Miles Ahead, The Dark Horse, Meet The Blacks, Kill Your Friends, Natural Born Pranksters.
The manifesto for this movie is hinted at in the first lines of the trailer and has been reiterated by director/writer/actor Don Cheadle on its press tour: if you’re going to make a film about jazz musician Miles Davis, it better have energy and style. Davis’s music didn’t adhere to formula, so his biopic shouldn’t, either.
To point out that a Richard Linklater project has been long-gestating is almost laughably commonplace, as several of his projects have either taken a long time to get financed or a long time to shoot. He famously filmed Boyhood over 12 years, spread out the Before trilogy over nearly twenty years, and first wrote Everybody Wants Some!! back in the mid-2000’s.
If you haven’t seen Norwegian writer/director Joachim Trier’s previous films, Reprise and Oslo, August 31st, then clear your plans for the evening, track down these films, and settle in for some feels. They’re two of the most empathetic films of recent years, applying complex emotional landscapes to potentially unlikable young men. In doing so, Trier and co-writer Eskil Vogt capture just how vulnerable we are to life’s blows and remind us that people deserve more compassion than we often mete out.
Every Tuesday Film Inquiry publishes the movies that are opening in cinemas! This week: Batman v Superman: