Dexter Fletcher’s sensational directorial debut is a gangster film with almost no gangstering in it. Featuring a meticulously well-crafted cast, an engaging story, a script which is by turns heartbreaking and hilarious and a totally believable central performance, this film couldn’t be less like Guy Ritchie’s nonsensical oeuvre if it managed to sustain a relationship with Madonna. Superb.
While this isn’t the first adaptation of Hergé’s comic book creation to grace the big screen, it is the first time that Tintin has appeared since 1972 and the first time he ‘s been presented to such a general audience. With Steven Spielberg on top form, and a story which picks liberally from three of the series’ most popular books, the result is quite simply one of the best blistering blue blockbusters of the year.
We love films. Well, we love most of them. Some of them are only OK, and some of them we’d like to get our greasy paws on and re-cast and re-direct all together. Here are five of them, because ten would have gotten me over-excited and I’d never be able to settle for my nap otherwise.
The ever-increasing presence of performance capture techniques has led to a bit of a division in the film industry: is it to be admired or discouraged? Film purists say nay. Andy Serkis fans say yay. But what do you say?
43 years on from Charlton Heston’s first encounter with a society of talking apes, this origin story finally explains exactly why monkeys started wearing helmets. And what a story it is. Unknown director Rupert Wyatt has effortlessly gold-plated his CV with this intelligent and engaging blockbuster, which may well see Andy Serkis win the first ever Oscar awarded for a motion capture performance. A triumph.
We have a new photo from Steven Spielberg’s new Tintin film, but it kind of gives us the willies