It’s time for a public announcement! We’d like to extend a very warm welcome to the new and improved Film Inquiry. We’re very proud to finally be able to share it with you – we’ve worked on it long and hard!
I flipped the final page of Andy Weir’s “The Martian” a couple of weeks ago. Thousands of other people have done the exact same thing since, and we all had similar motivations. I didn’t do it because I had heard good things about the book (at least, that was not the primary reason); rather, I did it because Ridley Scott’s adaptation of the book will be released in theaters this October.
Have you ever known anybody who wanted to be different than they were? Of course you have. Then have you ever known someone who wanted to be the opposite of what they were?
Among the final moments of The End of the Tour, author David Foster Wallace (Jason Segel) pulls his interviewer David Lipsky aside and says: “I don’t think you wanna be me.” Lipsky (Jesse Eisenberg) objects with the same how-could-you look I’ve returned incriminating but sensible remarks.
Why are you here, Jack Black? You weren’t a part of my childhood. No, you were the uncredited side character during my awkward adolescent years!
To put it bluntly, Ricki and the Flash is a film which feels unfinished. It’s not a poorly made film, everyone involved seems to be at least putting in some effort, it’s just that between the script and overall editing, large chunks of the film seem to be missing and the film feels like it doesn’t deliver a full story. This is quite surprising, as the cast and crew behind the film are quite talented.
In Britain we have only just heard of Amy Schumer. But even having seen none of her work and only the rare interview I knew I would love this lady, and when I spotted Trainwreck on the horizon I got very excited. Then, I backtracked.
Every week Film Inquiry publishes the movies that are opening in cinemas! This week: The Visit, The Perfect Guy, 90 Minutes in Heaven, Coming Home, Wolf Totem, Sleeping With Other People and Time Out of Mind.
This year there are 238 films, from 57 different countries showing at the 59th BFI London Film Festival. A star-studded event which draws crowds from Europe and across the globe. With its various Galas, Official Competition and hordes of talent – there is only one question worth asking.
Over at our official Facebook page , we are currently posting daily Film Recommendations, with each week being a different theme. This is a collection of those recommendations! This week’s theme is Underrated Neo-Noir films.
What inspired me to begin this series was actually the knowledge that Harper Lee, the author of To Kill A Mockingbird, was going to be releasing a new novel called Go Set a Watchmen. As I had remembered being fond of Lee’s writing, I was planning to read it. (I still have not, but am hoping to get to it after this).
Over at our official Facebook page , we are currently posting daily Film Recommendations, with each week being a different theme. This is a collection of those recommendations! This week’s theme is Portmanteau Films (otherwise known as Anthology Films), films usually compiled of different shorts/segments normally linked up by a connecting narrative.
If you don’t know who William Shakespeare is, we have failed you as a society. Hollywood has decided to make up for that shortcoming with the story of Macbeth. This interpretation comes as a war drama that has way more colors and wide shots than my middle school English class informed me about.
Near the conclusion of The Bourne Identity (2002), we find our hero, Jason Bourne (Matt Damon), taking refuge in a country farmhouse belonging to Eamon, the ex-boyfriend of Bourne’s hostage/lover/sexy barber Marie (Franke Potente). Bourne’s shadowy employers have dispatched a rival Treadstone assassin – known only as The Professor (Clive Owen) – to eliminate the threat posed by their malfunctioning asset. When Eamon’s son notices the family dog has gone missing, Bourne (preternaturally perceptive, as always) recognizes the portent.
Though documentaries have been around as long as cinema itself, it is only within the past decade or so that they have started to really gain widespread acceptance. Traditionally marginalized as “academic” or “high-brow” filmmaking, the humble documentary has found a home in an age where authenticity and accessibility have grown to be core cultural values. Also, a core cultural value in this modern age are lists: