As intelligent horror movies go, It Comes At Night isn’t so much senseless blood and gore, but rather a film which will inject a sense of fear, paranoia and utter despair in its audience. Written and directed by Trey Edward Shults, the film manages to play on its audience’s deepest fears by using clever devices which will make even the most seasoned horror fans jumped out of their skin. Playing on the whole tried and tested “cabin in the woods” trope, Shults manages to bring something fresh and classy to the proceedings without ever resorting to cheap tricks or tired clichés. Borrowing from Romero, Carpenter and even from John Hillcoat’s The Road (2009), the film cleverly plays on the idea of trust in a bleak post-apocalyptic envirement, all the while treating its audience like adults and never spoon-feeding them.
Our expectations of the latest incarnation of the web-slinger have been pumped and primed since his cameo in last year’s Captain America: Civil War. The teenage Spidey/Peter Parker nearly stole the entire film from under the more experienced noses of Robert Downey Junior and Chris Evans, with his youthful exuberance, cheekiness – and inability to cope with his new found super powers.
Who would have thought a film about the early days of golf in Scotland could carry with it this much heart, and emotional turmoil. Held together with an incredibly well crafted narrative, this surprisingly moving tale offers way more than its tittle would suggest. Directed by Jason Connery (son of Sean Connery) from a screenplay by Pamela Marin, Tommy’s Honour is not only well acted and beautifully portrayed by a brilliantly self-effacing cast, but it is also a film which will have you rethink your preconceived ideas about the sport.
What is there to say about a film which wastes not just one comic talent, but one which succeeds in dragging several well loved and respected comedy greats down to its mediocre level. This badly thought out and poorly judged piece of filmmaking, is not only silly and thin on laughs, but it also manages to be so boring that you will find yourself wishing it would just hurry up and end. The usually brilliant Will Ferrell and Amy Poehler look as befuddled by the whole thing as the rest of us, and perhaps wish that they’d never got involved in this mess, judging by their pedestrian performances.
Adapted from Hans Fallada’s highly acclaimed 1947 novel, Alone In Berlin is a story based on real life events which took place in Berlin at the heights on Nazi rule. Staring Emma Thompson and Brendan Gleeson, the film delves into one of Europe’s darkest hours and addresses the everyday acts of quiet resistances by ordinary German citizens during that time. Alone In Berlin not only tells an important story about stoic resistance to a hateful destructive ideology, but it also allows these acts of rebellion to be shared with a wider audience. Directed by actor turned director Vincent Perez, Alone In Berlin is expertly crafted visually and has more heart and urgency that you could ever wish for, even if it is ultimately let down by a less than perfect screenplay.
Review by Linda Marric Perhaps the first thing you notice about Berlin Syndrome is its eery familiarity and deeply disturbing claustrophobic style. Cate Shortland, Director of…
Adapted from Austin Wright 1993 novel Tony and Susan, Nocturnal Animals marks the return of Tom Ford in his directorial guise after a seven year absence. Ford’s second foray…