Every week Film Inquiry publishes the movies that are opening in cinemas! This week: Still Alice, Paddington, The Wedding Ringer, Blackhat, Spare Parts, Match, and Son of a Gun, .
It’s award season, and Film Inquiry, of course, cannot stay behind. Thusly, we’ve decided to do our very first Film Inquiry Best Movie of the Year! To determine which movie would be awarded this prestigious title, our team members sent in their lists of top 5 movies of 2014.
At some point in life, everybody does something brave. Whether it’s as big as rescuing somebody from a burning building or just standing up to the bullies who have taken their lunch money, it’s these moments of courage that continue to define them as a person. In every single movie he’s in, Nicolas Cage has a moment of courage that elevates whatever straight-to-DVD mess he’s in from something mediocre into something slightly less mediocre.
And with that, the 2014 awards season is in full swing. The Golden Globes are like the Oscars’s boozy younger cousin. Maybe not as big of a deal, but dammit that cousin is so much more fun.
The discussion on the best knockout films of all-time continues. If you missed my review on Million Dollar Baby in December, it served as the start of this discussion. This includes films based on boxing, wrestling, martial arts, MMA, etc.
Technology in the last few decades has grown by leaps and bounds. Very few could fathom the thought of a wireless telephone or even a smart phone during the lifetime of Alexander Graham Bell. Now we have the internet, various devices that require the internet, and soon enough, replacements for those who use the internet and related devices.
I’m going to check off a list. One D&D nerd with a chiseled body. A half Samoan, half Black former wrestler.
Hollywood has always been something of a boys club. If you think about the golden era of the studio system, you always hear about larger-than-life stars and the maverick, alpha-male directors that made all the classics we know and love today. Think of pictures of giants such as Howard Hawks, Samuel Fuller, John Huston, or Alfred Hitchc*ck, who are usually seen dictating their vision with booming authority.
Ant-Man makes his first appearance on the white screen next year, being the latest addition to the Marvel Cinematic Universe. The movie features Paul Rudd as Ant-Man, Evangeline Lilly, Hayley Atwell, Michael Douglass, Michael Peña and a handfull of other familiar names. It was directed by Peyton Reed (best known for comedies like Yes Man and The Break-Up) and its screenplay was written by Adam McKay, Gabriel Ferrari and Andrew Barrer.
Biopics are difficult to get right, especially if you’re covering the life story of somebody whose life story is already well known. How do you make it entertaining to an audience familiar with the backstory, yet still entertaining to a new audience who aren’t? Mike Leigh’s latest directorial effort Mr.
2014 should really be known as “The Year of the Biopic.” There have been films this past year that were based on many world-reknown icons, from Martin Luther King to Stephen Hawking to pop singer James Brown. And somewhere in the midst of all those comes the story of Alan Turing, a British mathematician that almost single-handedly won World War II.
Every week Film Inquiry publishes the movies that are opening in cinemas! This week: Taken 3 and the eagerly anticipated Inherent Vice.
A lot of indie filmmakers talk about how they’re going to find investors to fund their next film. These mythical “angel investors” will supposedly swoop down with bags of cash and make all your filmmaking dreams come true. But the reality is that these investors generally don’t materialize.
Peter Jackson’s first Lord of the Rings trilogy is potentially one of the finest trilogies ever made. Each film in the series, from Fellowship of the Ring to Return of the King, are all solid masterpieces, containing beautiful cinematography, fine character acting, and iconic soundtracks by Howard Shore. The Hobbit series, on the other hand, is much more inconsistent.
In an era when Hollywood is running out of ideas more than any other previous point in its century-long history, the big studios’ desire to unnecessarily remake everything grows even more unwelcome. It’s not that good remakes can’t be made (after all, The Departed, The Fly and a Fistful of Dollars all exist), but modern audiences are so skeptical of remakes that they tend to stay away in droves. The remakes only seem to happen presumably so that the studios can maintain the copyright to the originals and continue to make heaps of money.