As if Harmony Korine directed an episode of the Twilight-Franchise. More often than not Julia ducournau's debut is spiky attitude disguised as cinema, but at least it converts the tropes and metaphors in gruelling and fascinating fashion. Definitely one to chew on - ba dum tss - .
Director James Mangold strips away formula and eschews all of the cloying characteristics that now seem to be build in to franchise-film-making (overbearing winks and references for the sake of 'universe-building) and turns this 'superhero'-outing into a grizzly genre-film that almost accidentally has a superhero at the centre of it. The film bares the grittiness that is de rigueur for the genre, but the darkness is prompted by some emotional heft and proper character-building. In an age in which tentpoles/sequels tend to go bigger and brasher, Logan goes the other way with rewarding result.
You'll be in the grip of Love's strangest trip.
Hitchcock always takes a devilish glee in pitting two men against one another, but his style has rarely been as effective as with this taut, edge of your seat thriller. All the Hitckcockian traits are there : the Wrong-Man-at-the-wrong-time motive, the doppelgänger-obsession (channelled through Hitch's daughter Pat Hitchcock's performance as Barbara) and an array of dazzling and masterfully planned shots (The ferris ride-finale is magnificent). Strangers on a Train is a…
While Pixar once took the reigns of smart, all four quadrant-orientated animated story-telling, current animation seems to miss the spark that's both igniting and fueling my childlike imagination. Watching The Iron Giant (for the first time, *bashfully ashamed*) reminds me that once there was an era, an era that wasn't dictated by pixelated worlds, humdrum storytelling and flimsy characters. An era that seems to be a forlorn past in the light of current affairs (Turbo, Epic, The Croods and another…