Noah Baumbach’s quirky black and white comedy drama charts the universal struggle that every young adult who’s graduated with a creative arts degree has suffered.
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Director Paul Feig’s follow-up to Bridesmaids reunites with its scene-stealing star Melissa McCarthy for a buddy cop movie starring Sandra Bullock.
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In film-making, it’s not enough to have a theme prevalent in the film. The director has to have a reason for exploring whatever it is they’re depicting on screen. The theme begs a question, and the writer/director must answer it. The director needs a voice, an opinion. If a film shows war and death, so what? We know this happens in the world. What does the director want to say about war and death? This is key, otherwise it’s just navel-gazing.
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Edgar Wright ends his so-called Cornetto trilogy on a sci-fi-tinged apocalyptic note with his old pals Simon Pegg and Nick Frost. Their two previous outings tackled zombies with Shaun of the Dead and cops with Hot Fuzz, and have given fans an idea of what to expect, but The World’s End disappoints by deviating from a winning formula.
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Everything about Pacific Rim on paper tells me I should love this movie. I like mecha anime, I like science-fiction, I like attention to detail, I like new franchises rather than old ones growing stale, I like Idris Elba, I like action set in cities other than New York.
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Contrary to the trailer, Ben Wheatley’s film is entirely in black and white, giving the story an unreality, which is appropriate as we follow five characters traipse across mushroom-infested fields amid England’s civil war, going on acid trips and exchanging humorous dialogue with one another.
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Directed by Seth Rogen and Evan Goldberg, this apocalyptical analysis of dick jokes defies the odds and works as a meditation on friendship, the value of celebrities in modern culture and also dick jokes.
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