An outrageous scene involving a soon-to-be-nun spitting out Jesus Christ’s blood did not stop the critically reviled film The Nun (2018) from becoming the highest grossing film within The Conjuring Universe; a film series launched by what is recognised as arguably the best horror movie of this millennia.
Author: Hagan Osborne
Lover of watching, talking & thinking about movies!
Deserted Island Movie Collection: Cameron Crowe's work from the late 80's to early 2000's is iconic.
Best Movie Snack: I have been known to see movies because of popcorn.
The saying goes that every dog has its day but in the case of Illumination Entertainment and Universal Pictures’ The Secret Life of Pets series, they have found themselves a weekend.
Hollywood has yet to recover from the savagery that ensued Sony with the release of Paul Feig’s ‘sheboot’ of Ghostbusters (2016).
Alongside Homer Simpson and SpongeBob SquarePants, electric fluff-ball Pikachu joins the ranks of beloved ‘90s yellow cartoon characters to receive the live action treatment with Pokémon Detective Pikachu.
The manner in which The Curse of the Weeping Woman divulges into cheap horror tropes is a greater curse on the overall film than the problematic curse in its storyline.
Ever since Twilight (2008) made it desirable for teenagers to be in complicated relationships, the teen-films that have followed continue to up the dramatic relationship ante.
The attention of cat lovers has been captured twice this month in films that draw-out the docile and wild nature of the beast.
Before the start of horror-genre film Us, a studio opening credit containing a hypnotic teacup animation that references Jordan Peele’s debut film Get Out (2017) is seen. This referral to previous work recognises Peele’s ability to deliver on iconography and is a testament to the driving power of Peele’s brand, which despite having only directed one film in his career has already garnered him accolades and recognition as an auteur horror director.
Karyn Kusama’s film Destroyer highlights an ongoing trend of Australian actors working in Hollywood that are unable to disguise their accents (see 2018’s Mary Queen of Scots and anything Sam Worthington).
Suppose you had the option in a game of Scrabble to play the word SACCHARINE or ANARCHIC. Saccharine, meaning excessively sweet and sentimental, and anarchic, much to do with lacking control over circumstances, are both worth more than 15 points but also summarise the range of emotions experienced by Bill Nighy and company in the 2019 British drama-comedy, Sometimes Always Never.
From recent releases such as The Rider (2017) and Thoroughbreds (2018), and even as far back as The Godfather (1972), there is an obsession in filmmaking to have horses die to serve metaphoric purposes.
It would be remiss of this reviewer to discuss the psychological drama Vox Lux without commenting on the abhorrent manner which pop-star Celeste is endowed by fame; a by-product of a culture obsessed with celebrity in a system that benefits from the exploitation of trauma.
You’d think it’d be a pie in the face for Sony Pictures Classics to release a film about iconic comedy duo Laurel and Hardy without having their stage name in the title but in the case of Stan & Ollie, it speaks a testament to the genius of the pairing both on and away from the spotlight.
Russell Crowe won an Academy Award for his role in Gladiator (2000); a spectacle film containing chariot races, battles to the death, and scenes involving Crowe stroking wheat in a field. In a film that promises all the joy of caressing plants without any of the Gladiator action, At Eternity’s Gate enters this year’s award season as a little-known film that could potentially garner Willem Dafoe his first (overdue) Oscar.