Recent cinema and television has been littered with dystopian visions of technology impacting our lives, from the Black Mirror franchise to Netflix’s TAU (2018), Ready Player One (2018) and Blade Runner 2049 (2018).
Throughout 80’s cinema there was a spike in buddy-cop action comedies, creating an entire sub-genre of movies that defined an era that to this day, is rarely seen matched.
I will always regard 2012 as a great year for writers, as far as the cinema was concerned.
Princess Diana’s (Naomi Watts) life has hit rock bottom since her separation from Prince Charles. Unable to see much of her sons, labelled a public enemy by the Royal Family, and always seen as a bankable bimbo by the tabloids, Diana’s once fairytale lifestyle has been reduced to one of isolation, guilt and crippling un-fulfilment.
“Mick Jagger in Tony Richardson’s Ned Kelly!” – This is perhaps one of the most blood curdling phrases to ever be uttered in the history of Australian cinema.
Yes this is a buddy movie between a boy and his dog, though not the type you’d might expect – rather it’s the complete opposite.
The Elephant Man (1980) tells the true life story of Joseph Merrick (John Hurt), who suffered from severe deformities during his life in late 19th century London.
There’s one thing greater than seeing a cinematic masterpiece, and that’s seeing a cinematic trainwreck! No matter how many times we tell ourselves that we, as modern cinema goers, are highbrow folk who prefer films that are tasteful and inspiring, we all LOVE a good Z-grade flick.
Silent films are often given a wonky reputation by modern cinema buffs. Whenever we think of the genre, we immediately conjure up images of clownish-looking performers behaving like mimes having a seizure, or production designs and direction that are so unnatural and dated that you can’t help but laugh, or roll your eyes at its unintentional silliness. By today’s standards, silent films are looked down upon as a dead genre, only ever being acknowledged during academic studies or analytical mockery. The cinema fans of today rarely warm up to classic cinema the same way they would warm up to Deadpool (2016) or Moonlight (2016).
The history of cinema has known many great adaptations of the works of William Shakespeare. 1948 brought us the big screen version of Hamlet; 1968 brought us Romeo and Juliet; 1989 gave us Henry V; and now, it is time for us to welcome the latest great Shakespearean feature film, that most definitely deserves to be given as much popularity as the mentioned adaptions of the past – 2011’s Coriolanus!
After a 5 year hiatus, David Lynch returns with Inland Empire, a work so surreal it makes his 2001 masterpiece, Mulholland Drive, look like a linear and straightforward narrative. A film so intense, that it develops a mind of its own. Going deeper and deeper into the nightmare, the Lynchian comeback blurs the line between what’s real and what’s not.
Throughout their life an equilibrium had been maintained between Beverly and Elliot Mantle (Jeremy Irons), identical twins who work as gynaecologists. Specialising in female fertility, the charming and more charismatic of the duo — Elliot — seduces members of their clientele, sleeps with them and then passes them on to his shy, sensitive other half — Beverly, without any of the women realising the change.
With Earth diminishing and slowly suffocating the dying human population, a group of astronauts are tasked with entering through a wormhole, in hopes of finding a habitable planet for the people stranded back home.