The adaptation of Lee Child’s best-selling book One Shot, Tom Cruise has some mighty big literary shoes to fill. This film could have so easily been a mechanical and soulless action film, relying purely on the big name stars and the widely-read source material. In fact, Jack Reacher is beautifully shot, brilliantly acted and far surpasses the traditional man-against-the-world action flick. It never pushes the envelope too far, but Jack Reacher will leave you wanting more.
Having escaped the horrors of Martha Marcy May Marlene and Silent House, The Good Olsen changes lanes for this, the latest film from festival darling Josh Radnor. A celebration of the encounters, life-lessons and serendipitous moments that comprise university life, the film will inevitably appeal to some more than others.
When a synopsis involves a group of American college students setting off on a road trip to an empty forest cabin, instinct tells us that the story will probably be a familiar one. Whether it’s to cannibals, zombies, or unwelcoming spirits, these kids are going to bite it – one after the other – until there’s just one of them left (final death optional). But have you ever stopped to wonder why it has to be that way? Joss Whedon and Drew Goddard have, and luckily for us, they’d like to share.
After the desolate wasteland of 2010 (The Crazies, and…?), 2011 has actually been a half decent year for horror movies: Kill List, Black Swan, Stake Land, Troll Hunter, Julia’s Eyes, Attack the Block (sort of), the first half of Insidious, the second half of Scream 4… But if early whisperings are to be believed, 2012 is going to be much better. LIST TIME.
Meg Ryan/Julia Roberts/her from Grey’s Anatomy and their earnest search for romance is looking even less fashionable then ever, and Mila Kunis and Justin Timberlake completely agree. Ignoring Love and Other Drugs in their hurry to take off all their clothes, our two lust-birds instead opt for some No Strings Attached sex in this, Will Gluck’s latest fast-talking comedy. While you’ve undoubtedly seen Friends With Benefits before, it is nevertheless well worth the ever-present sense of deja vu.
We know, we know. You loved Let The Right One In, and you’re sick of Hollywood rehashing every good Swedish film ever made, so you’re not going to bother seeing Let Me In even though you liked Chloe Moretz in Kick-Ass. STOP RIGHT THERE. A faithful remake enlivened by sensitive direction and some truly extraordinary performances, this is a film which stands squarely on its own two blood-spattered feet.