A film can sometimes take so many risks, twists, and turns that the movie itself becomes borderline indescribable. Ant Timpson’s Come to Daddy falls in this camp, so how do I even begin to discuss it?
By: Nick van Dinther Birthmarked isn’t a bad movie, but it still feels like a missed opportunity.
Despite a cast that boasts the talents of Toni Collette (The Sixth Sense, Little Miss Sunshine), Harvey Keitel (The Grand Budapest Hotel, Bugsy, Pulp Fiction), Tom Hughes (Cemetery Junction), and Rossy de Palma (Julieta, Kika), Madame is a flat and charmless romantic comedy.
It is probably inaccurate to call Ben Wheatley’s Free Fire “a comedy of errors” given that term’s context, but perhaps the term “comedy of injuries” could be coined to describe this cross between cruelty and the absurd in a way that only Wheatley can do.
Filmmaking is certainly an important form of self-expression, but not all films are created equal; sometimes a film comes out that serves no purpose, makes no impact and leaves no impression. Gerard Barrett’s Glassland is a perfect example of such a film. His film completely lacks any purpose other than to be a series of images giving an illusion of motion on a screen. Glassland never rises above a TV-movie-of-the-week, and its attempts at slow and…