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  • Late Spring

    Late Spring


    Ozu was an amazing filmmaker. He strips down filmmaking to the bare essentials, leaving so much room for character development and interaction. His minimalist approach allows him to become one of the masters of the character study on film. There is little to no camera movement, a wholly uncomplicated plot, and simplistic edits. I find it hard to think of any other director who relies so much his characters to get his point (and themes) across.

    His work is an absolute joy to watch.

  • The Expendables

    The Expendables


    I haven't wanted a film to end as badly as I wanted this to in a long long time. It's stupid, it's boring, and the only thing worse than the plot is the sub-plots.

    The direction is painfully uninspired - I don't think I saw one little inkling of innovation on Stallone's part, and I don't hate the man as so many do. I wouldn't consider myself anywhere near an expert on how films are made, but I found myself…

Popular reviews

  • The King of Comedy

    The King of Comedy


    Oh my. That was not what I was expecting at all. This film is so fantastic. It truly is one of those films that, in the hands of another director, could have been an unmitigated disaster. But Scorsese and De Niro just transform it into pure gold.

    Rupert Pupkin is an aspiring comedian, who dreams of appearing along side his hero and mentor Jerry Langford (essentially Jerry Lewis playing himself). Over the course of his life though, Rupert's dreams have…

  • No Country for Old Men

    No Country for Old Men


    No Country For Old Men is easily The Coen Brother's finest film. By my estimation it is perfect. The directors pace this film so well, and not a single shot is misplaced. The opening scene is one of my favourite of any film - the accent and diction of Tommy Lee Jones gives me goosebumps every time. From the outset it is obvious that Sheriff Bell knows he times are changing around him and that he doesn't entirely understand it.…