It should probably come as no surprise that it takes a film so hilariously absurd and so utterly surreal to provide what is actually very insightful commentary about the nature of everyday relationships. Sure, this is a film where people are threatened with animal transformation, where people hunt each other in the woods and where, at one point, Colin Farrell tries to take off his trousers while having one hand shackled to his belt, but this film exposes more home truths than a shelf full of self-help books. And it may all seem like ludicrous nonsense on the surface, but what it has to say about love, fidelity and dependency is more revealing than anything Farrell wears under his kecks.
The gender-discriminated world of Suffragette is so far removed from my everyday life as to be completely unrecognisable, much less relatable. Which means that I should either a) credit how far we have come as a society since then, or b) immediately own up to the fact that I am a 30-something white male who has never had to contend with any prejudices or glass ceilings in his life. Either way, join me as I nervously criticise a film about the kind of tragic societal injustice of which I am entirely unqualified to discuss thanks to my having a penis.
There are some things you would expect from a Peter Pan movie: flying kids, oppressive parental figures, some fairies and shit. Pirates singing Nirvana songs, galleons trying to out-race spitfires and Hugh Jackman huffing pixie dust probably not so much. Creating a gritty backstory for a 12-year-old can't have been easy, but director Joe Wright pulls it off with great aplomb, making it one of the most entertaining visits to Neverland so far. Add in thrilling action sequence after action sequence, and you've basically got Mad Max: Fury Road for kids.
Posted by Ali Gray
at 21:30 on 11 Oct 2015
There is still much we don't know about the new Star Wars movie. What is it called? Who will direct it? Which characters from the original trilogy will return? I have just done a cursory Google search and found that all of my previous questions do in fact have answers. But I'm pretty sure the following ones don't.
I rewatched The Football Factory on Film4 last night. I don't harbour any real dislike for it as many do; elements of it are misunderstood and better realised than it gets credit for. I want to talk about its ending, though. You cannot end a film like The Football Factory does. I don't mean it ends badly. I mean it ends wrongly.
Probably. I mean, I haven't looked it up, but I watched 2001 again the other day and it seems legit.
Some clever marketing bods have launched an interactive online tool to promote the forthcoming Snoopy And Charlie Brown: The Peanuts Movie. But this isn’t your usual ‘hilarious’ flashmob video or desperate attempt at a Twitter trend, like that even means anything. This shit will get you self-evaluating like you have never self-evaluated before.
Posted by Ali Gray
at 21:40 on 20 Sep 2015
I've been walking past the poster for Emily Blunt's hitman drama Sicario for weeks now, but just assumed the one-sheet in Holborn station had been vandalised. Apparently that's not the case: every
version of this Sicario poster has Emily Blunt made up to look like a Victorian prostitute.
At two hours and 11 minutes, The Scorch Trials should have been a pretty meaty filler in the YA sandwich that is Maze Runner. But like its stablemates The Hunger Games and Divergent, once all the scene-setting and introduction to the new dystopian world has been done, we're just trying to munch straight through to the good stuff. Scorch Trials is basically a big block of cheese you can't quite sink your teeth into, but there's a promise of an interesting chutney coming up, or some particularly nice bread. It's a bit bland and won't leave you particularly hungry for more.
It’s no great revelation to say that biopics, by their nature, are fundamentally flawed. Unless somebody’s life follows a perfect three-act structure, unless the subjects really are two-dimensional models of greatness, and unless any number of indiscretions or inaccuracies can be overlooked without raising too many eyebrows, then biopics tend to fall into the viewing equivalent of the uncanny valley. While all of these still apply to Legend, the film makes up for it with one brilliantly simple decision: to treat the Krays like completely ridiculous, larger-than-life, cartoonish characters of fiction. And it’s probably safe to say that they are so much more fun that way.