assassin
With its uneasy blend of action, comedy, and familial drama, Gunpowder Milkshake is ultimately an underwhelming movie.
At the center of Woo Min-ho’s The Man Standing Next lies a political scandal that has puzzled historians for decades.
Violence is key to the narrative of Grosse Pointe Blank, and it forces Martin Blank to contend with who he was and who he has become.
Sadly, Ecco fails to deliver good writing and a visual instinct to its audience, loosing trust and the ability to keep them interested.
With an uninspired script and meaningless dialogue to fill space, Cold Blood is lifeless from the opening moments, failing to live up an action movie or thriller.
With the most creative kills anywhere, a deeper mythology, and great additions to the cast, John Wick: Chapter 3 – Parabellum is even more deadly and enjoyable.
Han Yan’s Animal World is a truly insane but consistently entertaining mishmash of rock paper scissors, bug-eyed aliens, clown assassins and a check-cashing Michael Douglas.
Inspired by Alice’s Adventures In Wonderland, Terminal is visually and thematically strong, despite its over-simple script and occasional over-acting – all in all a promising directorial debut for Vaughn Stein.
Sweet Virginia is a gripping, atmospheric movie, with stellar acting and a characterful script who’s only fault is it is not long enough.
With strong performances and flawless filming, The Villainess briefly losses its identity before concluding with a stunning finish.
Jack Reacher: Never Go Back is a sequel that falls flat and misses the opportunity to create something worthwhile.
To talk about this film, you must talk about the rise and acceptance of post-modernist cinema with mainstream audiences and how this has changed the way modern genre films are tackled. To break it down, post-modernist cinema essentially is cinema that tackles ‘modern’ or traditional cinema. Post-modern cinema wants to actively point out the different film elements that make traditional cinema work, show them to you and deconstruct these cinematic codes in order to stand apart and comment on its established genre/story-telling methods that its currently indulging in.
Like many people, I was a great fan of Bridesmaids and The Heat, so it was likely that the newest film to pair Paul Feig and Melissa McCarthy would be right up my alley. Likely, but even I had my doubts over Spy. A spy comedy?
When the Oscar nominations rolled in on Thursday, perhaps the biggest surprise – other than the snubs for Selma – were the six nods including Best Picture and Best Actor for American Sniper, a movie which few expected to be in the running after getting no attention from the Golden Globes or BAFTAs. There was an even bigger surprise a few days later, when it was announced that the film drew in a stunning $89 million in its opening weekend, which is more than most of last year’s summer blockbusters. The Iraq War drama snuck up on the awards race out of nowhere, and shattered January box office records beyond all expectation.
A trio of rambunctious adolescents storm into a man’s house, steal his car, and then, just for the hell of it, beat his dog to death. Unbeknownst to them, the man they robbed is none other than John Wick, a former assassin who was so good at his job that he earned a nickname of “The Boogeyman.” Let’s just say that they pissed off the wrong guy.