In the latest of our cinematic ads series, here we describe the effectiveness of advertisements in the cinema for different types of films.
Cents is a film about a teenager attempting to find her identity; though not without its shortcomings, it is a refreshing and admirable film.
Whether the real-life zookeeper’s wife let her son nap with lion cubs is questionable, the menagerie of The Zookeeper’s Wife should make for lots of unusual encounters as the characters hide from and scheme against the Nazi regime.
Our relationship with extraterrestrials has been a bumpy ride to say the least, but why is Hollywood so fascinated with them? Who has contributed to this ever-changing portrayal of extraterrestrials? And what are the many faces of alien life?
Army of One could have been a lot of different things, with plenty of room to shock and titillate fans of Larry Charles’ usual propensity for visceral subversions of cultural norms. Instead, the movie falls flat as a conservative piece of biographical fiction.
I Am Not Madame Bovary is highly critical of Chinese bureaucracy, both using the plot to highlight its inability to care about anything other than their job position, as well as poking fun at the workings of officialdom with the conversations between the officials themselves.
There is a story with immense emotional depth within Toni Erdmann, but the movie is so frequently dull, when the moments of comedy arrive they can feel somewhat cynical.
The New Man is a fascinating insight into modern fatherhood, male identity, cultural expectation and the torturous path of late parenthood.
The casting of Emma Watson in Beauty And The Beast, who is arguably the most prominent bookish feminist of the right age to play Belle, was the first sign that this project was headed towards a faithful and loving remake.
Arrival shows up where the crowds would expect it to, in the emotional department. But upon further analysis, the film lacks the wit or width for uncertainty, and it has only one dimension to offer as entertainment.
The humor in Capture is one of its best qualities. This isn’t the humor that comes from telling a good joke, but rather from the spontaneous situations that the people find themselves in.
With its $125 million budget and $115 million expected loss, Paramount doesn’t seem to trust Monster Trucks will be a success.
Ti West may be best known in the indie horror circuit, yet with In a Valley of Violence he has proven that he has additional genres up his sleeve.
Julieta is an earnest drama and has been noticeably billed by Almodóvar himself as his welcome return to the “cinema of women”.
Opening in cinemas this week are Allied, Miss Sloane, Moana, Lion and more. We’ve compiled the info & trailers!