Jason Isaacs

News, Reviews & Features

The Death Of Stalin

Movie Review | Ed Williamson | 23rd October 2017

By now the central premise of Armando Iannucci's recent satirical output is clear enough, or has maybe just about been done to death: in politics, everyone's a chancer, making it up on the fly and looking out for number one. In The Death of Stalin there's an extra layer of irony, too: under Communism, there isn't supposed to be a number one to look out for. It's kind of the point.

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A Cure For Wellness

Movie Review | Ali Gray | 21st February 2017

A while back, I used the pun 'Shitter Island' to describe John Carpenter's horror comeback The Ward during a Halloween liveblog. As with all my puns, I reserve the right to reuse them whenever I want, so I'm recycling this one in honour of Gore Verbinski's A Cure For Wellness, another cliched asylum-based horror thriller. More like Shitter Island, right guys? Haha, good one Ali.

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Fury

Movie Review | Ali Gray | 17th October 2014

War movies. Huh. Good God. What are they good for? By now, it feels like every manoeuvre, every landing and every battle of the Second World War has been fought and won or lost on screen. Subsequently, each new WWII movie has to prove its worth before a single shell has been fired or bomb dropped. David Ayer's Fury doesn't even bother pretending it's based on a true story, jumping straight into action with an ambush, a dead Nazi and a knife through the eye socket - and it gets progressively more grim from then on in.

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Awake: file under "mental, but might just work"

TV Video | Ed Williamson | 23rd February 2012

Folk commit crimes, cops solve them: it's why TV was invented. Do it underwater, on the moon or with a bucket on the cop's head, it's still the same thing. OK then, how about a cop who leads two lives simultaneously and solves crimes in both of them? SOLD. (*writes out multi-million dollar cheque and orders 24 episodes*)

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Green Zone

Movie Review | Darren | 17th March 2010

Before the dust has even settled on the Iraq war, several filmmakers have cast their lens in the direction of the conflict and raised pertinent questions about what is essentially an ongoing crisis. That is unprecedented, considering war movies of the past are typically made a considerable period after the conflict has been done and dusted. No film this year will be as politically charged as Paul Greengrass' stirring and unflinching war movie.

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