• Tangerine

    November 27, 2015 - By 

    “Merry Christmas Eve, bitch!” Sin-Dee Rella is fresh out of a month-long jail stint, and she’s pissed. She meets up with her best friend Alexandria, also a trans women turning tricks on the Sunset Strip, at their local donut haunt, who drops the bombshell that Sin-Dee’s boyfriend/pimp has been unfaithful while she’s been away. “No drama!” warns Alexandria, but it’s too late: the revelation sets a vengeful Sin-Dee (Kitana Kiki Rodriguez) marching up and down Hollywood Boulevard, determined to wring the neck of the cheating Chester and his ‘white fish bitch’, instigated a winding, popping, one-crazy-night farce that will loop all…

  • Brookyln

    November 9, 2015 - By 

    Judy Garland shut her eyes and clicked her heels and repeated her spell but she was only half right. There’s no place like home, but there are also many places like home. Given enough time and familiarity, potentially everywhere can feel like the place you’re supposed to be. The fluidity of home and its irresistible pull over us is the focus of emigration drama Brooklyn, directed by John Crowley and adapted from Colm Toibin’s novel by Nick Hornby, now becoming a solid interpreter of others’ works. At its heart is Eilis Lacey (Saoirse Ronan), who relocates across choppy waters from her barren 1950s Wexford town…

  • Great Scott! Back To The Future Round-Up

    October 20, 2015 - By 

    Marty, fire up the flux capacitor! Christmas has come early for fans of the time-hopping Back to the Future trilogy, with a raft of special events to mark what’s being called ‘Back to the Future Day’. In another ungentle reminder of the arrow of time’s unstoppable flight, having already sailed past Judgement Day (Aug 29, 1997) and the X-Files‘ alien invasion (Dec 22, 2012), this Wednesday marks the date that Doc and Marty crash-landed into the future in the 1989 sequel: 21/10/15 at 4:29pm. It’s also the 30th anniversary of the first film’s release (handy that). Robert Zemeckis’ Back to…

  • The Program

    October 19, 2015 - By 

    ‘Contains the use of performing-enhancing drugs’ warns the title card of The Program, John Hodge and Stephen Frears’ unpacking of the Lance Armstrong myth, and it ain’t joking. Doping paraphernalia and vocab comes at the viewer thick and fast: drips, syringes, tubes, platelets, red and white cells and liquids in tiny bottles with too many syllables on the label. Blood is drawn, test results are cooked and dodgy equipment stuffed out of sight, with Team Armstrong and the anti-doping watchdogs locked in an arms race of detection and evasion. Cycling isn’t about lungs and legs, insists the opening voiceover of Ben Foster’s Armstrong,…

  • Macbeth

    October 9, 2015 - By 

    In recent years, screen adaptations of Macbeth have sought to make an impression by courting relevance. Geoffrey Wright’s 2006 film, starring Sam Worthington in the lead, tranposed Shakespeare’s blood-coated tragedy to modern-day Melbourne, putting the verse in the mouths of rough cokehead gangsters who wouldn’t look out of place on the Sons of Anarchy set. For the BBC’s 2005 ShakespeaRe-Told series, Peter Moffat turned the theatrical into the gastronomical, casting James McAvoy as an ambitious sous chef chasing Michelin star glory. This new Macbeth, directed by Justin Kurzel (his sophmoric feature after 2011’s The Snowtown Murders), is the first high-profile film adaptation of the…

  • The Martian

    October 2, 2015 - By 

    Improperly handled, optimism can be unbearable. One of the (many) problems with Chris Nolan’s Interstellar and Brad Bird’s Tomorrowland, two recent advocates for a return to space-age can-do adventurism in a jaded age, was their wild asymmetry between telling and showing. Both films were too breathlessly busy evangelising about mankind’s untapped potential to actually demonstrate that potential in action: ‘reach for the stars’ bluster can only get you so far. Ridley Scott’s The Martian, a highly polished and entertaining space castaway story based on Andy Weir’s novel, is sort of a fulfillment of these earlier film’s ambitions, selling its golly-gee…

  • The Gift

    August 14, 2015 - By 

    Note: The Gift is best enjoyed without the mildest of spoilers. Just to let you know. Even when playing entirely reasonable characters, Jason Bateman tends to come off like a bit of an asshole. His performances usually radiate a faint smugness or superiority – understandable as the token straight man amongst buffoons, idiots and Tobias Funke, licensed analrapist. The Gift, the feature directorial debut by Joel Edgerton, the Australian actor who wrote The Rover, expertly mines Bateman’s reserves of smarmy unlikability, as one half of an upper middle class couple starting a new life in the Los Angeles suburbs. In pure…

  • Love & Mercy

    July 30, 2015 - By 

    The fidelity that musical biopics tend to have towards the chronology of public record – especially when the subject or their families are still alive, and liable to kick up a fuss over films playing fast and loose with their story – makes it difficult to know what parts to keep and what do ditch. Live fast, die young stories are good because you can fit everything in to a tight arc of glamourous decline. Complex, sprawling careers are more challenging, but can be can be reduced to a single period for convenience. Others take a more experimental approach, like Todd…

  • True Story

    July 28, 2015 - By 

    The last time James Franco and Jonah Hill were in a movie together, 2013’s This is the End, Hill got a Satanic cock up the ass and Franco was munched to death by self-appointed cannibal king Danny McBride. Franco and Hill trade up in the respectability index for True Story, a flat cat-and-mouse two-hander based on the ‘true story’ of Christian Longo, wanted by the FBI in 2002 for the murder of his family, and the disgraced journalist who wrote a book about him. Hill is Michael Finkel, an ambitious New York Times reporter who is fired for embellishing a cover story on modern slavery and…

  • Ant-Man

    July 23, 2015 - By 

    Ant-Man is a small guy but he comes with a lot of baggage. With the high-profile mid-production replacement of Edgar Wright, a stylistically idiosyncratic film-maker with cult buzz, with Yes Man director Peyton Redd, much of the nerdtariat has already pegged Ant-Man as a test case for the limits of auteurism in the Marvel factory. And the pint-sized adventures of Scott Lang, Paul Rudd’s incredible shrinking superhero and the latest addition to the Avengers fringes, definitely invites this perspective. The film is immediately readable as a kind of Rorschach test, with tone, story and character work that stretches from inspired to…