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Comedy is a tricky thing; it’s hyper-subjective and typically draws from dark elements to create laughter. The search for one’s own comedy is thus, in a sense, the result of grappling some of the least desirable aspects of the human experience and wrangling it into something with a punchline. This is why the cliché of the “sad clown” is so prevalent and continues to be perpetuated to this day, such as with Marc Maron’s self-loathing diatribes and the tag posthumously attributed to Robin Williams.
Most directors have a recognisable style that characterises their movies, giving them a distinctive visual stamp that claims it as wholly theirs. Todd Haynes is an unusual director in that his style differs from movie to movie, fully committing to replicating different genres and bygone fashions to the extent that he has no distinctive visual style that claims any movie as distinctively his. With Carol, he has made a period drama not entirely dissimilar from his early film, 2002’s Far From Heaven.
Every week Film Inquiry publishes the movies that are opening in cinemas! This week: The Hunger Games:
Every week Film Inquiry publishes the movies that are opening in cinemas! This week: By The Sea, The 33, Love The Coopers, Prem Ratan Dhan Payo, James White, Entertainment, Ingrid Bergman In Her Own Words, My All American and Kilo Two Bravo.
Miss Giddens (Deborah Kerr), the new governess for two orphaned children in Victorian England, arrives at their idyllic country estate in the beginning of the psychological horror film, The Innocents (1961). The naive young woman, who has a lived a solidly middle class existence as a vicar’s daughter, marvels at the stately home and spacious grounds. Everything, including her two young charges, seems innocent and perfect.
The Big Short tells the story of the global economic meltdown in 2007-2010 and the men who made millions of dollars from it. Four men saw the global collapse of the economy coming while the big banks, media and governments still refused to and had an idea: The Big Short.
The holidays are over and it’s back to work and school. It’s a long wait till Halloween and an even longer one till Christmas. Even us writers at Film Inquiry pace around anxiously, watching out for the beginnings of Oscar season.
Film is a great healer. And for everyone reading this article there will have come a time when you have turned to a movie to find solace from the troubles of life. Because, let’s face it, life sucks.
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!
Paper Towns is an adaptation of John Green’s book of the same name. You may already have read or watched his highly successful The Fault In Our Stars, and have come back for more. Why wouldn’t you, he’s John Green?
Over at our official Facebook page , we are currently posting daily Film Recommendations, with each week being a different theme. The first theme is Stylish Gangster Films, crime films which are elevated by aesthetically appealing visuals and great alternative takes on the usual gangster film tropes. 1.
Have you ever met a person who is simultaneously hot and cold? Beloved and hated? How about celebrated and condemned?
We have come far since the time of the original Peanuts comic strips. It originates in a time when popular culture wasn’t so obvious with the allusions to sex or violence. It actually drew reference to how a child might interpret the adult world.
Japanese cinema has a distinctive style that has been consistent since the days of silent film, when directors where drawing from classic kabuki theater to inform their burgeoning filming style. That is not to say that there’s anything limiting about a cultural pattern in Japanese cinema, seeing as they have given the film world anime, jidaigeki, yakuza, cyberpunk and multiple other notable sub-genres. One recognizable aspect of Japanese cinema is the use of seasons in certain films:
Every week at Film Inquiry, we present the movies that are opening in cinemas! This week: Minions, The Gallows, Self/Less, Do I Sound Gay?