There is an ongoing revival in American cinema of the historical narrative; of old wounds reopened and left to fester before contemporary, more critically aware audiences. America has recounted its history before, with the classic directors of yore as a mouthpiece, but today’s historical films serve as interrogations rather than elaborate reconstructions. Steve McQueen’s 12 Years a Slave, an outstanding adaptation of Solomon Northup’s 1853 autobiography of the same name, turns its eye on the devastating human cost of the…
It seems that every year the UK cinema establishment vomits up another dirtily shot tits-and-drugs exploitation flick which purports to expose the increasingly seedy underculture of its urban working class. It arguably began with Trainspotting, Danny Boyle’s adaptation of the Irvine Welsh novel, a movie which served as a welcome change from the stuffy period dramas and lilting romantic comedies of the era; a suckerpunch to the jaw compared to Four Weddings and a Funeral. We’re pulled back into the…
I'm still sitting here and contemplating whether or not I liked Killer Joe. I don't think I'm completely sold on it, but the strong performances, sharp-as-nails script and gorgeous cinematography are winning me over.
This is contemporary Southern Gothic at its dankest, with a heavy dose of neo-noir and black comedy to break the tension. It's bleak and confronting, none of the characters are particularly likeable, and its grotesque approach to sex and violence are sure to leave a gritty…
A masterpiece. One of the most incisive, captivating media critiques ever produced. It predicted both the ubiquity of planned reality television and the degradation of news media long before either achieved perfect hegemony.
Every time a pseudo-philosophical conversation is held about The Matrix, it should instead be about The Truman Show.