No Xavier for you, Wikileaks! Have a Nazi instead
Professor Xavier to bake ‘Epic Victoria Sponge’ for occasion.
THR have announced more conjecture on Star Wars. SHOCKING!
After intriguing us with his enigmatic presence in Winter’s Bone, then quietly disturbing us as the maniacal cult leader in Martha Marcy May Marlene, the increasingly versatile John Hawkes now reveals his softer side in endearing comedy drama The Sessions. That rare thing, a populist movie that also happens to be a good one, audiences will rightly flock to see The Sessions – and so should you. Just one word of warning… if Mr. Hawkes wants you to start crying in public, you will start crying in public.
Next week we’ll be officially into Advent OWLs and all our oranges will have to be studded with cloves and full of candles and stuff (seriously, what is up with Christingle?), so you’d better seize this final opportunity to enjoy a blog about the week’s releases which isn’t saturated with Christmas nonsense. OH WAIT NATIVITY 2 IS OUT ALREADY. Balls.
We’re exactly halfway through Walken Week here at Best For Film Towers and we reckon it’s about time for us to look back at some of his greatest moments in front of the camera. From the sad, to the bad to the exquisitely deranged, we’re celebrating the wonder that is Walken. Obviously, all the best Walken moments are just him sitting at home with the wife, shouting at the TV or eating soup or complaining about how the neighbours keep burning leaves and all the smoke is coming into his study while he’s trying to work out how to sign out of Hotmail. Those are definitely the best Walken moments around and we’ll probably never be privy to them. Oh well, we’ll just have to comfort ourselves with this list. *Sigh*.
Starring the grey fox Hugh Laurie, The Oranges is an above-average comedy about two suburban families who have their lives utterly bamboozled by an ill-advised romance. It may seem like just another quirky Juno clone on paper, but there’s definitely more to The Oranges than meets the eye. A number of gripes aside, this is a warm and decent comedy that you won’t regret watching.
Following the A5 as it winds eastward from Holyhead in Wales to London’s Marble Arch, Marc Isaacs’ The Road is an insight into immigrants who have adopted England’s capital as their home. Up close and personal, the picture that emerges is a bleak one. Its very nature defined by a state of flux, the road of Isaacs’ documentary seems to act as a point on the horizon as far from homes left behind as it is from those yet to be found.
Snipe London
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