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Showing all news in Reviews
'Cash' can best be described as 'Ocean’s 11' meets the hit BBC series 'Hustle',all set in Paris and on the gorgeous Cote d'Azur.
Opening the documentary are images of Dutch film director Theo van Gogh, who was murdered by Islamic fundamentalists in Amsterdam in 2004.
Fuzzy schlub, Seth Rogen, and fellow '40 Year Old Virgin' bit-parter, Elizabeth Banks, are the eponymous platonics one bounced cheque from the skids.
Writer-director Nora Hamidi's characters and their italicised lives may have certain familiar cookie contours, but Dolls and Angels' players do pull off an engaging depth and credibility for each of their playees.
In his latest film, 'Lemon Tree', Israeli director Eran Riklis presents a sensitive but hard-hitting commentary on the ongoing Israeli-Palestinian struggles.
The film He’s Just Not That Into You is based on a hugely successful book of the same name by Greg Behrendt and Liz Tuccillo, who also wrote for Sex and the City.
For a while, Pride and Glory plays like the fiercest episode of Law & Order ever writ large and dashed luridly across the big screen. The beat-treading camerawork, the attention to dot-plotting police procedure, the bleak ambience of New York’s niveous, crime-sodden streets – all are impressively exploited by helmer Gavin O’Connor in this corrupt cop thriller’s tautly carved opening hour.
Here’s the thing: chances are you are never again going to see another film even remotely similar to You the Living.
American cinema revels in the comeback storys from the Rocky films through The Natural and more recently Cinderella Man, the celluloid history of Hollywood is struck through with a belief that anyone can make it big, fail, and be resurrected like a modern-day Lazarus.
Crotchety. Curmudgeonly. Cantankerous. Clint. Throw ‘shotgun-wielding,’ ‘bile-tongued’ and ‘ass-kicking’ into the mix and you have both a plot summary of and a list of reasons to see Gran Torino, Eastwood’s first film serving dual duties as director and thesp since the Oscar-storming haymaker of 2004’s Million Dollar Baby.
How can a dramatised retread of a real-life story whose outcome is as fixed as the sinking of the Titanic circumvent the expectations of audience know-alls to arrive as one of the most surprising films of the year?
Waltz with Bashir is an animated documentary about memory and the way it can be suppressed to protect a person from the pain of the past.
Baz Luhrmann’s new blockbuster is an OK sort of film. It’s no masterpiece and doesn’t deserve to walk off with a haul of Academy Awards in its swag bag next February.
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