By: Jeff Ching Wes Anderson is one of very few current directors where viewers can watch 10 seconds of a trailer promoting his film, and immediately identify it as “a Wes Anderson movie”. I don’t know whether that’s a good or bad thing, but credit to him for such a distinctive style. He may be the most “auteuristic” auteur ever, if that makes any sense. Does it? I don’t know. Moving on…
Based on Joyce Carol Oates’ fictional novel of the same name, written and directed by Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford) and earning a rare adults-only NC-17 rating, Blonde is a disturbing examination of Marilyn Monroe (aka. Norma Jeane Mortenson) and the cruel behaviour she experienced on her search for a companion.
Set in the theatre district of London’s West End in 1953, a production of Agatha Christie’s whodunit The Mousetrap seems to be cursed after the body of flagrant director Leo Kopernick (Adrien Brody) turns up dead after the show. The jaded Inspector Stoppard (Sam Rockwell) and rookie investigator Constable Stalker (Saoirse Ronan) are assigned to the case, and it seems as if everyone’s a suspect: the actors, the crew, the waiting staff and, to Stalker’s…
By: Jolie Featherstone Wes Anderson’s latest feature is a dazzling ode to the joys of the printed word and the spirit of the American wanderer.
Backtrack (DIR. Michael Petroni) By: Shahbaz Khayambashi Michael Petroni’s Backtrack contains a villain that does not often end up in horror films: guilt. Adrien Brody portrays a psychiatrist, still seeing patients as he is being torn apart inside by the death of his young daughter. It is at this juncture of his life where he realizes that he needs to come to terms with a traumatic accident that he witnessed, and inadvertently caused, as a child….