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!
From director Brian J. Terwilliger comes the National Geographic documentary short, Living in the Age of Airplanes. It was an easy sell for me, as I’ve enjoyed numerous aviation and spaceflight documentaries tailored for “edutainment”.
Mindhorn, the debut feature film from theatre director Sean Foley, has one hell of a concept that has been created as a Frankenstein’s monster, taking bits and pieces from other British cult comedies from the last two decades.
Director Sophia Takal is a more consistent actress than she is a director, and it’s this experience that may set Always Shine apart. Too often the stories of women breaking down are helmed by men.
Looking back at Daniel Craig’s years as James Bond, there is one scene in particular that transformed him, taking place in Casino Royale.
The Handmaiden is director Park Chan-wook’s most explicit film to date, if only in its portrayals of warped male sexuality contrasted with the comparatively emotive sexuality of women.
I Am Not Madame Bovary is a social satire and unusually shot film by Feng Xiaogang starring Fan Bingbing, about a woman who wants to take her ex-husband to court but finds trouble every step of the way in the inefficiency of the Chinese legal system.