The Eagle

Overlooking the absolute absurdity of two men wandering off into northern Britain to find a venerated piece of Roman identity and returning alive with it, the film does make some fairly noble attempts at recreating 2nd century AD life in Roman Britain. The film opens pretty strongly and there is…

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The Invisible Woman

A nearly great exploration of Charles Dickens and his controversial relationship with a young wanna be actress. Lovely scenery, intelligent script and all-round brilliant performances yet this still doesn’t seem to really come together. It felt like the point of the film was forever in becoming clear. Scene after scene…

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The Fifth Estate

This film kinda feels premature, and by that I mean the ultimate consequences of the Wikileaks phenomenon are possibly yet to be felt. As a result, the film never really successfully develops a sense of danger for the main characters. Sure, they are in trouble, and important American politicians in…

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Saving Mr. Banks

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There’s a lot one must ignore and or forgive to allow this film to work its (eventual) magic. For a start, have any of the filmmakers associated with this film ever been to Australia? Apparently not, because their recreation of early 20th century Queensland bears no resemblance to the place…

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400 Blows

            400 Blows (Les Quatre Cents Coups) Francois Truffaut’s very first feature film after being a rather brutal film critic for a number of years. Partly, even perhaps largely based on his troubled childhood experiences of growing up with indifferent parents, ‘400 Blows’ is Truffaut’s…

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The World’s End

At Worlds End

What starts off as a reunion to finally undertake and complete a pub crawl ends up being a fight for survival against an invasion of alien robots. Lots of laughs, lots of fun and certainly lots of violence, I can’t help but feel though that this is slightly derivative of…

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American Hustle

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Ensemble comedy at its (almost) best. Lies, scams, cons and double dealing in 1970’s New Jersey. (Nerd observation: the opening company logos are shot as if they were produced in the 70’s). Jennifer Lawrence steals every scene she’s in and I think Director David O. Russell allowed her more leeway…

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