While the story in itself isn’t groundbreaking by any stretch of the imagination, the spectacle is immense and the number of highly kinetic battle scenes on rag-tag vehicles are savage; definitely unlike anything cinema-going audiences had seen before. ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️
Im Keller sells itself as a documentary, however there’s an element of staging to it that can’t be denied. There aren’t any actors involved. The protagonists aren’t fictional characters; they appear to be appearing as themselves. Or at least, some version of themselves.
When today’s young audiences think of Mad Max, their mind’s eye probably wanders towards the Tom Hardy-helmed road-rage epic. While Mad Max: Fury Road (2015) gives an unforgettable take on the same character and is also a product of George Miller’s mind, this feverish, highly kinetic desert epic is utterly dissimilar to anything that was presented to us back in ’79.
United in their love for the ‘little car’ as they might be, one thing the majority of Herbie fans can’t seem to agree on is on how the five movies released to date should be ranked. In this post I will attempt to list them according to how enjoyable and true-to-Disney an experience they offer the viewer.
You’ve got your Star Wars light-sabres, your flying DeLorean and then there’s head-twisting Reagan. The image of the demon-infested girl is recognisable everywhere. The head spinning freak with the infected, lacerated face, sitting upright in bed spewing jets of green vomit all around her has not only become a staple image of horror but also one that universally signifies the horror genre.
This is a character driven film and thus, Radcliffe and Dano’s performances are what make it what it is. Daniel Radcliffe is astounding in his Frankenstein-ish turn as the popeyed, deceased but slowly and surely re-gaining a grip on life Manny, while Paul Dano, is excellent, as always.
What I’m sure of is that I’ve watched a very good, even great film which delivers an authoritative commentary on existentialism, while also serving as an effective satire on the concept of fame, even if the language it uses to communicate is stilted and rough round the edges.
Catch La Dolce Vita at the Eden Cinemas on the 9th and 13th of August. Two shows only!
This film gives a stark, pessimistic picture of what, in different circumstances would have been a yellow-tinted, flowery depiction of one’s delicious teenage years. The time when one feels full of life. A period in life where romance or at least, touch, is lurking at the forefront of every interaction. When the name of the game is truth or dare and pretty much all tension is sexual… and when Summer days are endless, and everyone seems available, ready and willing. In Jack and Julie’s case, everyone is each other.
⭐️ ⭐️⭐️⭐️⭐️⭐️ ⭐️ ⭐️ ⭐️
Generally speaking, One Hundred and One Dalmatians feels different to most of the older Disney animated Classics. The look is quite stylised and feels like an application of different techniques, ranging from water colour to graphic pens. Production commenced hot on the heels of Sleeping Beauty (1959), a film which also noted for its stylised and angular animation, but which however feels odder and (naturally) more dated than Dalmatians. I believe the recipe worked better in Dalmatians. The animation style more similar to that used in Sylvain Chomet’s The Triplets of Belleville (2003) and The Illusionist (2010), than, say Dumbo (1941) or Lady and the Tramp (1955).
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