Whitney Houston, as we know her, was a meteorically talented singer battling the demon of addiction – a demon that ultimately killed her. But who was she behind the bright lights of stardom and the alluring darkness of drugs and drink? Whitney: Can I Be Me seeks to give us a taste of the real Whitney.
Author: Tina TsironisA keen lover of old-school slashers and all movies ultra-twisty, Tina Tsironis is a hyperactive writer excited to critique and unpack any kind of movie within any kind of genre. Deserted Island Movie Collection: Disney's animated films. Best movie snack: Mint Choc-top.
In 2010’s Beginners, writer-director Mike Mills explored his father coming out as gay five years before his death. 20th Century Women is a love letter to his late mother, and it successfully captures the complexities surrounding both her and the film’s other titular characters.
Animal carcasses, purple nail polish, harsh, remote mountains, and a giggly 13-year-old girl. To view these facets of the 2016 documentary The Eagle Huntress in isolation, is to assume that they wouldn’t mesh ‘properly’ together. After all, what would the bleak Altai mountains have to do with a female living through her first year of teenagerdom? Plenty, as you soon will learn.
Every so often, a film is released that manages to be as moving as it is humorous, without erring toward the saccharine and nonsensical. Roger Spottiswoode’s A Street Cat Named Bob, based on a true story, and the best-selling novel of the same name, is one such film.
For all its emotional resonance and intrigue, Pablo Larrain’s Jackie isn’t quite sure what sort of film it desires to be.
It’s only natural that a smash-hit film will herald a flurry of knock-offs like Ballerina, even when said film is of the animated variety.
From the very beginning of Why Him?, when two middle-class parents accidentally spot the bare behind of their daughter’s ultra-rich tech guru boyfriend, the film produces a distinct aura of lazy writing and sheer predictability. As time passes, that aura does not dissipate. In fact, it escalates.
I feel that I need to make a statement before I waste any of your time skirting around the sole truth surrounding the latest instalment in the Underworld franchise – you likely won’t be surprised (or you might be, and that would be a surprise in itself), but it is clear that in Underworld: Blood Wars, style over substance prevails.
When the events within a film are intensely complicated and heart-rendering, they will often be handled in one of two ways by filmmakers: with restraint, or with pure, ‘we need you to feel all the sad feels’ melodrama. For the most part, Derek Cianfrance’s adaptation of The Light Between Oceans falls under the latter category.
The film adaptation of Paula Hawkins’s bestseller The Girl on the Train has attracted plenty of buzz, no least because the novel has been compared endlessly to the feministic whodunit Gone Girl. But the comparisons end there. David Fincher’s adaptation of the aforementioned film packed a sadistically twisty, darkly humorous punch. Tate Taylor’s The Girl on the Train, however? Well, it essentially fails at providing audiences with a similarly satisfying proverbial blow to the gut.
Well, here we are again. Yet another Bridget Jones sequel. If you detect a hint of exasperation in that previous sentence, then I applaud you for your acute observational skills. How many sequels does a rom-com need before it can be retired for good? For what it’s worth though, Bridget Jones’s Baby is not completely terrible.
The moment a remake is released, audiences will scrutinise every frame, itching for any moment they can cry ‘the original did it better!’.