The Bad Batch is a gnarly postmodern western.
As the Gods Will (DIR. Takashi Miike) Takashi Miike has two modes of filmmaking: a deadly serious style that’s evident in films like Audition, and a goofy, over-the-top style visible in films like Ichi the Killer. In As the Gods Will, it takes the viewer mere minutes to figure out which category Miike’s latest falls into (for me, it was the moment when a student gets decapitated and bleeds red marbles).
Top-notch performances from a talented cast form the back bone of director David Mackenzie’s contemporary take on the western heist genre, but Hell or High Water is more than a well-executed thriller. It is a carefully crafted film that isn’t afraid to cast a bold light on modern issues.
A few tidbits about the prolonged production of Jane Got a Gun could create scepticism for a movie goer right off the bat: the change of director Lynne Ramsay (We Need to Talk About Kevin) to Gavin O’Connor (Warrior) and the frequent switches among the cast due to various conflicts (Jude Law replaced by Bradley Cooper, who was then replaced by Ewan McGregor) are a couple of examples.
Forsaken mistakes a gimmick for an edge and a strength. The accused: casting Donald Sutherland and Kiefer Sutherland as father and son.
One of the most unpleasant moviegoing experiences this year takes place far away from any movie theatre. It begins on Netflix, and ends in regret.
The Hateful Eight is, fittingly, Quentin Tarantino’s eighth film, and by far his weakest.
By: Addison Wylie In Dead Man, Johnny Depp plays William Blake, an accountant removed from society twice over. The loss of his parents has his mind aimlessly wandering and a new job in the West has Blake feeling further alienated. Then again, it would take a lot of adjusting to fit in with Machine’s homely, rugged community. After meeting a local woman and then meeting her beau, Blake is pitted and pinned to a murder…