Keen to capitalise on the overwhelming success of Asif Kapadia’s sensational documentary Senna, director Ron Howard, whose responsible for some of Hollywood’s biggest commercial successes, reteams with Frost/Nixon screenwriter Peter Morgan for Rush. What could have been a compelling character expose set in and around the high-octane world of Formula One is, in the end, disappointingly bloated and mild on dramatic thrills. Continue reading “Review: Rush (2013)”
Diana, Princess of Wales was an icon, adored by the public and renowned for her high-profile charity work. Yet there was a darker, more manipulative side to her that constantly threatened to burst that innocent, bighearted bubble. It’s a shame, then, that Diana, acclaimed director Olivier Hirschbiegel’s biopic, abandons those intriguing suggestions altogether, instead producing a miscalculated, cringe-inducing and ultimately banal film that’s far too buttoned up for its own good. Continue reading “Review: Diana (2013)”
Austenland, a well-intended 19th century-style romantic comedy that’s been adapted from Shannon Hale’s novel of the same name, marks the directorial debut of screenwriter Jerusha Hess. While it’s handsomely filmed, making good use of the stunning British countryside and landscapes, and features some gorgeous costumes, there’s little else, substance or otherwise, to entice audiences, let alone to truly reward those who do choose to invest their time and attention. Continue reading “Review: Austenland (2013)”
Woody Allen’s career over the past two decades has been a mixed bag at best. For every Vicky Cristina Barcelona and Midnight In Paris (both of which earned Academy Award recognition), there’s been an Anything Else or a Scoop. It would seem though, that with Blue Jasmine, Allen has crafted a sharp, perceptive and deeply honest drama with a realistic sprinkling of humour that represents the ageing filmmaker at his most inspired. Continue reading “Review: Blue Jasmine (2013)”
After briefly sidestepping into more artsy territory with the widely panned Anonymous, Roland Emmerich comes back full force with White House Down, an over-the-top explosion-fest that flopped spectacularly upon its release in America. It’s dumb and predictable, sure, but unlike Olympus Has Fallen, this year’s other White House-set Die Hard parody, White House Down embraces its ridiculousness – a feat that mostly works in its favour. Continue reading “Review: White House Down (2013)”
There’s nothing worse than a dull film – one free of distinguishable factors that’s neither terrible nor outstanding, but merely sufficient. And that, regrettably, is the perfect way to describe crime-thriller Cold Comes The Night. The second feature from Chicago-born screenwriter and director Tze Chun may capture a decently dark and eerie mood through its motel backdrop, but is too lacking in both an upholding narrative and worthwhile payoff to fully engage audiences. Continue reading “Review: Cold Comes The Night (2013)”
Compelled to capitalise on the success of what many labelled the best supernatural thriller in decades, director James Wan and screenwriter Leigh Whannell reunite for its sequel, Insidious: Chapter 2. Picking up directly after the events depicted in the first film, Insidious: Chapter 2 frustratingly succumbs to many of the same problems – a convoluted narrative and an overt reliance on quick shocks rather than deep-rooted terror – that caused the first film to lose merit during its latter half. Continue reading “Review: Insidious: Chapter 2 (2013)”
Like it or not, British-born actor, director and screenwriter Richard Curtis has built himself a successful career by churning out his own brand of light-hearted, audience-friendly romantic comedies. The latest of which, About Time, deviates ever so slightly from the traditional structure to deliver a quirky, refreshingly touching and well acted, yet overlong and ridiculously predictable story of love and close family bonds. Continue reading “Review: About Time (2013)”
Known to few for her supporting turns in such rom-coms as It’s Complicated and No Strings Attached, actress Lake Bell takes a leap into the forefront with In A World. This superbly written treasure of a film, which premiered to wows from critics and audiences alike at this year’s Sundance Film Festival, delves into the unseen world of trailer voiceover artists and not only proves Bell’s worth as an actress, but also marks her arrival as a proficient writer and director. Continue reading “Review: In A World… (2013)”
There’s nothing more re-done than a coming-of-age comedy. Yet The Way Way Back, like Little Miss Sunshine and Ruby Sparks before it, is one of the rare ones that, despite treading familiar territory (it can’t help but feel like a younger version of Adventureland, particularly in relation to its amusement park setting), boasts such a tender, acute script and well-rounded characters that it’s impossible not to succumb to its charms and harsh-but-true honesty. Continue reading “Review: The Way Way Back (2013)”
Empty Screens 