Con movies are an old favourite of Hollywood. Immerging like clock work ever year with a star-studded cast of quick talking wise guys, glamorous girls, shinny backgrounds, fast-moving camera action and non-linier plots to keep audiences on their exhilarated heels. With American Hustle, director David O. Russell throws his hat in the ring of this long-standing genre.
A middle-aged slacker, who as a young man had effectively masturbated for a living under the name ‘Starbuck’, discovers that he is the father of 533 kids. I thought Delivery Man’s plot sounded quite interesting when I saw the trailer for this a few weeks prior. How hindsight makes fools of us all.
The build up of tension in the film is laughably weak and the pay-off not nearly gruesome enough. Boys Don’t Cry director Kimberly Peirce tread the line between serious horror film and B-grade homage
Known for his use of almost illegible raw Scottish dialect and characters with less than savoury habits, the latest of his creations to hit the big screen, Filth, fits the bill to a T.
Set in the very near future, How I Live Now depicts the outbreak of a war in England from the point of view of a rebellious American teenage girl, Daisy (Saoirse Ronan) who is sent to the British countryside to live with her Aunt (Anna Chancellor) and cousins.
Based on the novel by Pascal Mercier, Night Train To Lisbon is one of the most moving and finely crafted cinema experiences you will have this year.
There’s no question that One Chance is a predictable film, but this comes part and parcel with the real-life narrative of Potts, whose adversities and successes have evidently made him worthy of a biopic.
The film is set around a hundred years into the future, when Earth has managed to withstand a prolonged attack from the ‘Formics’, an insect-like alien race. In order to pre-empt future attacks, children are trained to become military tacticians.
Also released as Something In The Air, but coming to Australia with the translation of its original French title Aprés Mai, After May is the semi-autobiographical new film from Olivier Assayas, one of the most celebrated film makers currently working in his native France.
Despite slightly overstaying its welcome with a running length of two and a half hours, Catching Fire is rarely anything less than entertaining and engaging. As was the case with its predecessor, the film stands as one of the better efforts in terms of cinematic adaptations of popular young adult fictions series.