The Maze Runner is the latest movie from the sexy-teens-battle-it-out-in-a-dystopian-landscape stable, begging the question: do we really need another one? It's certainly a ripe breeding ground, and based on the evidence seen in Wes Ball's Young Adult adaptation it certainly can't hurt to squeeze another one in, even if The Maze Runner does think a little too highly of how teenage boys would cope on their own. I have an older brother and lived with five lads at university and I'm well aware they literally cannot stop touching themselves. Perhaps that's because back in my day, teen films were all about getting laid; in the future, teenagers have to figure out how to survive in hostile landscapes before they've even picked their GCSE options.
In yet another example of TheShiznit.co.uk being ahead of the curve when it comes to exciting new trends, we've recorded a 'pod-cast' - basically an audio recording of us talking into a microphone, which we have subsequently published on the Internet. Remember where you heard it first!
I read Fight Club by Chuck Palahniuk. I read Zodiac by Robert Graysmith. I read The Accidental Billionaires by Ben Mezrich. I read The Girl With The Dragon Tattoo by Stieg Larsson. I read Gone Girl by Gillian Flynn. All were at some point translated to the screen by David Fincher; only the latter felt undermined by its source material.
Good to know, thanks dude! The new trailer for Ridley Scott's Exodus: Gods And Kings is below, with Welshman Christian Bale playing Egyptian prophet Moses and Australian Joel Edgerton as pharaoh Ramesses II. Oh Hollywood, how is it that this isn't even weird any more?
The first time I laid eyes on the poster for David Fincher's Gone Girl, adapted from Gillian Flynn's excellent book, I didn't think much of it. Futura? Yawn. Ben Affleck looking sad? Tell it to Batman. A giant floating head? Probably the most overused poster cliché there is. Then I noticed the whopping great easter egg for fans who have already read the book. Then it clicked. And now I think it's genius. Read on if you want to see it (spoiler).
There were many factors that went into deciding the Top 10 Films Of Our Lifetime, but really, I pulled rank as Editor and decided pretty early doors that there was only ever going to be one #1 film. No Country For Old Men is a film that, from the first moment I saw it, made me appreciate film on a level higher than just 'good performances' and 'good story'. It made me want to investigate cinematographers, composers and screenwriters. It made me want to make movies and tell stories myself. But most of all, it made me want to watch it again. I hope you've enjoyed this countdown, because we've enjoyed putting it together. Normal service will resume shortly, I've got a pretty good Nicolas Cage Photoshop planned for next week - Ali.
Waaaaay back in 2012, when everyone was losing their shit over why Tom Cruise was playing Jack Reacher despite being comically ill-suited to the role, I had a few alternative suggestions. The Rock. Daniel Craig. Idris Elba. But it never occurred to me: Denzel Washington. Of course. Denzel bloody Washington. The bloke can turn his hand to anything. Luckily, Hollywood is way smarter than I am, and has set straight this misstep in the form of The Equalizer, with two key differences. One, an increased level of violence and a higher certificate to match. And two, unlike Jack Reacher, it's really very good.
I bloody love a good apocalypse. I think if I were a director, being given the chance to ruin the world and set up camp at ground zero would be like being a kid in a sweet shop: so much potential for iconic imagery, so many stories to tell, so many angles. In Children Of Men, Alfonso Cuaron tells the biggest story - the imminent extinction of mankind - yet manages to make it small and personal at the same time. And, true to form, he captures some unforgettable imagery along the way. I hope the real apocalypse looks this good - Ali.
Of all the films on this countdown, Guillermo del Toro's Pan's Labyrinth is the only one I've seen once - but once was enough. Every movie del Toro makes feels like it's been lived in for a thousand years, and Pan's Labyrinth is no different. It is an absolute pleasure to enter the headspace of such a vivid daydreamer, and there's no one else out there right now capable of bringing nightmares to life with quite so much gusto. Bravo, Guillermo, you horribly twisted, worrying individual, you - Ali.