western
With Damsel, the Zellner brothers take a whimsy and a flippant attitude towards the grit of the modern Western. Their approach is admirable and considerably original, but ultimately a failure.
Alex Lines spoke with Warwick Thornton, director of the upcoming Australian film Sweet Country, which has already hit the festival circuit and will be released this year.
With average performances, a weak script, and a lack of sentiment regarding the treatment of Native Americans, Hostiles isn’t going to make audiences want westerns to come back anytime soon.
Brimstone had potential, but it is bogged down by its length and a desire to show an excessive amount of gratuitous violence against women.
The Dark Tower may not be a complete disaster, but it has numerous flaws that weigh down what could have been an entertaining film.
Kurt Russell has charmed audiences through the years in a variety of films, from Disney to science fiction to more recent blockbusters.
Logan serves up the classic Western anti-hero in the realm of a dystopia, spinning the myth around while also keeping its machismo intact.
Westerns are the one genre I’ve never really gotten along with. I’ll watch a good one, and I have watched a number of classics, but it’s a genre that’s never particularly resonated with me. My father is a big fan of them, as are some good friends of mine, so this summer I made the decision to just try hard to find something I liked (other than Rio Bravo).
There’s no living with, with a killing. There’s no going back from it. Right or wrong, it’s a brand, a brand that sticks.
High Noon, though premiering in 1952, is a film that has great significance today, expressing the strength and power of individual will.
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.
Recently, the crowdfunding campaign of an upcoming Western called Gunhand was pointed out to me. I was very impressed: production values look amazing, and the story sounds promising.
Hollywood seems to be stuck in an age of remakes and sequels. Though original films do exist, they are never as popular or successful as the large-scale blockbusters, which are the only sure moneymakers for studios. Coming from this standpoint, it’s no surprise that Antoine Fuqua’s The Magnificent Seven exists.
Over at our official Facebook page, we are currently posting daily film recommendations with each week being a different theme.This week’s theme is the films of British cult director Alex Cox, and this article is a collection of those recommendations! The definition of the “cult movie” director, Alex Cox has had an incredibly interesting career, flirting with both studio and independent filmmaking – imprinting his own unique anarchic vision with each film he makes.
Class consciousnes and its oft-contingent condemnation of wealth was a theme at the 2016 Cannes Film Festival that one would be hard-pressed to overlook. The most obvious reason for this is the fact that Ken Loach’s poignant portrait of one man’s struggle to navigate Britain’s welfare system, I, Daniel Blake, took home the Palme d’Or. But this topic was also prominent in part because films about wealth, or lack thereof, pervaded the entire festival, spanning its various sections.