Get ahead of the curve and jump on the Lena Dunham bandwagon before HBO spoils it for all the cool kids. It contains hints on how to be a YouTube sensation! And a frozen hamster. The two aren’t connected, sadly, but don’t let that stop you from enjoying this refreshingly self-aware mumblecore flick.
Rage is one of the best indie horror flicks we’ve seen in a long while. Drawing on Hitchcockian techniques, Witherspoon manages to transform an everyday occurrence into a terrifyingly realistic psychological thriller, keeping the suspense-fuelled mystery turned right up until the very end….
As I understand it, there’s a genre of young adult dystopian fiction which sees teenagers or children dealing with issues and stuff in post-apocalyptic or distressing settings of some description. The ‘Tomorrow’ series, by Australian author John Marsden, is one example. Tomorrow, When The War Began is the first in this series, and it’s now a MAJOR MOTION PICTURE. Or a quietly released DVD.
Seann William Scott is disarmingly loveable in this blood-spattered sports comedy written by Jay Baruchel and Evan Goldberg. Goon might initially strike you as brainless Lad fare, but don’t let appearances deceive you. It’s warm, funny and actually has something (vaguely) serious to say about a culture which encourages, and even downright applauds, violence – as long as it’s safely in the confines of a sports venue, of course.
A joyful, rich and eye-meltingly beautiful celebration of cinema, an homage to artistry throughout the ages and at its roots a love story, plain and simple – silent film The Artist is as close to perfect as we’re ever likely to get. It might be a little early to place this as the best film of 2012, but frankly, no-one could blame them for being quietly (very quietly) confident about the matter.
Writer-director Jean-Pierre Améris’ latest film is a romantic comedy despite itself. Telling the tale of two romantics as united as they are handicapped by an overwhelming fear of relationships, Romantics Anonymous is a sugar-coated love story that proves every bit as sweet as it does saccharine. Boasting agreeably quirky contrivances and a deeply calorific serving of catharsis, this end of year treat just about manages to have its chocolate and eat it.
Oliver Reed is the best thing in this historical adventure from the Hammer studios, out-acting everyone else on screen by a mile. Aside from his performance, though, this film lacks the vigour and excitement of a good historical epic, and isn’t exaggerated enough to be fun as a bawdy period romp.
New Year’s Eve gives you one final chance; a chance for hope, and a night for taking chances. For when love takes a chance, every day is like New Year’s Eve. On the eve of love, and chances, sometimes taking a chance on hope is the only hope that feels like new. Take a chance! Hope with love! Love your news! Time is running out! Time will never run out if you have love in your chances! GOD LET ME DIE, LET ME DIE LIKE I HOPE ALL THESE CHARACTERS DIE
The third film in the Harold & Kumar franchise is – as expected – a mad, offensive, gross-out, hilarious piece of festive tat, sending up pretty much everything it can get its mucky paws on. It’s perhaps not as funny and boundary-pushing as the first two films, but its soft, creamy centre and winning performances from its leads make it impossible not to enjoy.
What do the pink-footed goose, the snowy owl, Owen Wilson, the magpie, the greater spotted woodpecker, Jack Black, the skua, the great grey owl, Steve Martin and more than seven hundred other birds have in common? They’re all in The Big Year, a truly inexplicable film about more twitching than you’d get if you electrocuted a person who was already very twitchy. Somehow or other, it’s not that bad.
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