R.I.P.D desperately strains to get laughs where it can and they only really come from Roy and Nick’s avatars, a Victoria’s Secret model and a short, elderly Chinese man respectively. But even then, the joke is milked way too much and by the end the audience is so unbelievably sick of it.
Along with Crimes and Misdemeanors, Hannah and Her Sisters, Match Point and a few along the way, the director’s latest offering, Blue Jasmine deservedly joins the shortlist.
Reprising his role in Riddick, the third instalment of the franchise, is Vin Diesel, who looks like he hasn’t aged since the first film came out over a decade ago. Like the previous film, The Chronicles of Riddick, Riddick was written and directed David Twohy, and it continues where it left off.
White House Down lacks the unexpected moments of graphic violence and humourous quips found in the Die Hard-inspired Olympus Has Fallen, and is a fairly forgettable addition to both Emmerich’s filmography and the action genre more broadly.
Written by Nick Alexander Originally published 3 September 2013 If this were a two-line review, it would read something like this: Romantic-science fiction film…
Written by Nick Alexander Originally published 3 September 2013 I must admit to being consistently charmed by the Studio Ghibli films of Japan over…
Written by Kendal Coombs Originally published 3 September 2013 “What did corporate America do to piss people off so badly?” is what film historians…
Imbued with a mysterious undercurrent and filled with memorable images the film is certainly a visually immersive experience with strong performances all around, but the film’s slow pacing and slightly disjointed editing prevent the film from being a more cohesive whole and making a stronger impact at its crescendo.
A superficial scrutiny of The Best Offer might assert it to be a slightly unpalatable story of love-across the-age-divide between Virgil Oldman (Geoffrey Rush), successful antique art auctioneer with his own priceless collection of female portraits, and Claire Ibbetson (Sylvia Hoeks), twenty something agoraphobic orphan of life-long antique collectors.
Ashton Kutcher is a revelation in the titular role, his performance is subtle and nuanced, a major divide from the usual, manic performances he delivers. He has the awkward, stilted, hunched swagger down to a fine art.