Psychoanalysis has been tormenting society with its uncomfortable conclusions about your mum for the last century. It has had a huge influence on film, giving filmmakers the opportunity to explore the dark dank recesses of the human psyche while still entertaining with vague references to “penis envy” and “momma’s boy”. We here at Best For Film have dedicated our lives to reducing entire film genres, movements and occasionally random objects (like glasses, or zoos) into easy-to-read lists, and as such we have launched a new blog series, starting with this one: Psychoanalysis in 10 Easy Films.
Ah, Jim Carrey. It seems as if everyone who is anyone has an opinion on this funnyman of big budget flicks – whether you adore his early works and abhore Mr Popper’s Penguins, prefer him to stick to comedy and steer clear of serious dramas (hello Eternal Sunshine Of The Spotless Mind) or simply want to see him dress up in a funny costume, it’s hard not to have an opinion about good old Jim. So, with THAT in the forefront of our minds, Sarah and Nina have launched into an almighty row…
Parker is out soon, and if you’ve seen the trailer/moody-ish poster you’ll know that singer Jennifer Lopez is in it, starring alongside rent-a-hardman Jason Statham. This isn’t the first film J-Lo has been in. To be honest, we’re not sure why that keeps happening. And to make things even more dire, Lopez has threatened revealed she would like to take on more acting roles due to her ‘great experience’ working with Statham on set. But Jen’s not the only one who should just slip away quietly back into the recording studio AND STAY THERE.
Impressive cast, great music, vintage clothes – can the Coens do no wrong? Oh… there’s JT.
Having recently delivered middlebrow stodge like Invictus, Hereafter and J. Edgar from the director’s chair, it’s been a while since Clint Eastwood has had a chance to chew some scenery. With directing duties left to longtime collaborator Robert Lorenz, Eastwood steps in front of the camera once more, finding the same ardent growl that made Gran Torino such an enjoyable boilermaker of a film. Unfortunately, Trouble with the Curve is as toothless as the man himself, a catatonic baseball drama that suffers from the same mouldy traditionalism championed in Eastwood’s cranky talent scout.