Mel and Gaz discover the true story behind the movie Hotel Rwanda (2014). We dive into the tragic story of the genocide and learn about it's historical context. It's a powerful story about family, division, political corruption, and the repercussions of colonial history. But is it accurate to the real history?
Your interest in this scrappy biopic of a transactional friendship rests solely on how much interest you still hold in uncovering the faint character building moments of Donald Trump.
For anyone hellbent on defending Joker (2019)’s acclaimed existence, I propose a thought experiment: why does Todd Phillips feel the need to spend $200 million on a movie refuting the morality of the first movie if the first movie did nothing wrong?
It’s about corruptible power, the building of a city, about supernaturally controlling time. If that sounds fascinating, I can assure you the film works very hard to extinguish all excitement.
Coralie Fargeat’s The Substance is the type of viewing experience you need to recover from. It’s a ruthless, intense, pummelling journey into the body-fluid ridden depths of image based beauty standards and their effect on women.
Tim Burton’s fine career has two consistent themes: he’s a visionary and he’s often a poor judge of storytelling.
With it’s mischievous voice over, its smash cuts, its copious use of cocaine and ketamine, it’s a punkish musical biopic laced with the hedonism of being young, male, and continuously high.
If her previous work was a Mamma Mia-esque holiday romance movie, the type you need on a particularly hard day, then Iris et les hommes leans into more sexually provocative material, something closer to Pedro Almodóvar’s morally ambiguous sex-comedies.
With Alien Romulus, Fede Álvarez is entirely here to please audiences by providing them the same conventions – a corridor based monster movie with gruesome deaths, sweaty skin and plenty of heavy breathing.
Trap in many ways is representative of M. Night Shyamalan’s entire career, one showing a clear abundance of talent but also an odd deafness to the music of classic thrillers. He’s a rebel, someone who had always been an outsider to Hollywood, even when he achieved mainstream success within it.
Now with the release of the $200 million blockbuster Deadpool and Wolverine, it seems a franchise that’s supposed to make fun of the Hollywood machine has become it’s headline act. It’s an uncomfortable fit for a character that works best at the edges of the mainstream. Here Deadpool is a superhero so steeped and entrenched in the memeification of popular Hollywood culture that it devolves into a shallow pool of cameos, callbacks, and fan-service.
