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.
Five time Oscar nominee Paul Thomas Anderson is back with 2012’s most anticipated film (that doesn’t feature a comic book hero or James Bond). But is his controversial take on Scientology up to scratch? The Anderson stamp gleams back at you from every polished frame, but beneath all the style there’s something missing from The Master‘s heart.
Based on Jack Kerouac’s semi-autobiographical masterpiece, On The Road is awash with promiscuous sex, rambling prose and cool jazz. Fans of the book may appreciate the loosely structured narrative, but will soon tire of the repetitive plot developments which become so monotonous as to lack reason and purpose.
Why are so many biopics being picked up for distribution lately? Is there some kind of biopic season we’re not aware of?
In which the cast look vaguely like Soviet despots. This is reassuring.