Bittersweet love affairs on film rarely go well, it’s just their nature. In Summertime, Carole (Cécile de France) and Delphine (Izïa Higelin) find each other in a time of social upheaval in the France of 1971. Friends, to begin with, Delphine becomes attracted to Carole when she moves to Paris and joins Carole’s women’s rights group. At first unsure of the attraction, Carole throws herself headlong into Delphine and whatever fate may bring. But Delphine’s country home life comes knocking and neither women can anticipate what happens next.
I’m not sure what the point of the Swinging Cheerleaders is but I’m pretty sure it’s got something to do with the main character Kate learning to like being in an oppressive patriarchy and her new football jock beau, Buck, learning to not treat women like dirt. Oh, and there’s cheerleading going on in between. Review and trailer after the break.
It’s painfully heartwarming to watch movies set in your home country. While the US, UK and Europe have a fine tradition of rolling their eyes at their fellow countrymen and women on screen, here in Ireland we are woefully bereft for truly Irish stories. John Carney’s Sing Street takes a different path than our normal output and yet stays true to its roots. Trailer and review after the break
If there is one great performance in Orson Welles’ career (and if we’re being honest he had lots of great performances), one role that people see him and say “that’s Orson Welles!” it would be…..Citizen Kane. A triumph of cinema, Kane is one of the most well constructed films in American cinema and rightly is Welles’ crowning achievement as a filmmaker. But his greatest role is not Charles Foster Kane, it’s a medicine smuggler and conman called Harry Lime. Only Harry’s friend, Holly Martins, knows who is his friend is. But even as Holly goes looking for his friend in post-war Vienna, even he is left wondering in The Third Man, Carol Reed’s crime and punishment masterpiece: Who IS Harry Lime?
I’m reminded, watching the film we’re going to look at now, of that line from Predator by Arnold Schwarzenegger: “So you cooked up a story and dropped the six of us in a meatgrinder?” Because that’s largely what happens in Pride & Prejudice & Zombies, the film we didn’t know we needed until now. How will the world of Jane Austen and Zombies be after it was all over? Trailer and answers after the jump.
Much maligned, scorned frequently, Universal and Hasbro’s live-action version of popular cartoon Jem arrives with a lot of baggage and more than its share of problems. Trailer and chatter after the cut.
[NOTE: there is a major spoiler in this review and I’ll flag it before it happens]
At its heart, Creed is a lot of things. A story of personal triumph over adversity. A great sporting film. A story of a man who never knew his father and never wanted one. A tale of a warrior who found out the hardest battles are the ones in his heart. A love story of two people who will lose something by being alone and gain something by being together. But most important of all, it’s the story of a boxer who wanted to know if, like his father and mentor before him, he can go the distance.
While nothing can come close to the masterpiece that is Jaws, you can’t blame studios for trying to come up with ripoffs and derivatives. Of course, everyone waited to see what Universal Pictures would do and in a stunning turn of events, that surprised no one, made a sequel to their killer fish film and called it Jaws 2. The history of sequels to popular movies has never been good but is this one different?
In a perfect world, Walter Hill’s record as a director would be unblemished. Streets Of Fire, 48 Hours, The Warriors, Southern Comfort, Red Heat. Any of them would define the 70’s and 80’s in American cinema and its goals. Unfortunately, everybody’s run ends somewhere. Hill’s ended with this abomination of a film, Supernova, and took him over twelve years to be trusted with another movie. Which is sad given that the film could have been a great film both in terms of pacing and execution.
It had to happen at some time, I suppose. PIXAR, that eponymous animation studio and makers of such timeless stories like Toy Story, Monsters Inc. and Finding Nemo, had to have a dud. But for most studios, a dud would be something that failed to fly with audiences and therefore didn’t take a lot to the bank. A PIXAR dud, what does that look like? When your output is such that people expect your films to be the film equivalent of the Sermon on the Mount, releasing something less than that makes viewers scratch their heads. The Good Dinosaur comes at a time when PIXAR is relying more on its franchises than original ideas so I was curious to see if it keeps the flame at the studio alive or snuffs itself out.