For a producer, Jerry Bruckheimer sure does leave his mark on pictures. The Lone Ranger is a classic wild west tale, much as the Pirates of the Caribbean series is a classic pirates-on-the-high-seas franchise, and it has all the action, and violence, you would expect from a wild west, with a little humour thrown in for good measure.
It’s unclear whether Matteo Garrone’s latest work Reality can be best described as a drama or a black comedy. While the film’s premise is comical, what unfolds over the two-hour running time is often disturbing.
The highly anticipated new film from arguably the most artistically uncompromising, as well as celebrated, film maker currently working in North American cinema, To The Wonder continues Terrence Malick’s mediation on the very nature of love and life.
Operatic in its entirety, at its core The Conductor has a heart, but it is surrounded by substantial implausibility that makes it hard to find. It might have grand theatrics, but ultimately falls flat.
The Snow Queen’s world is void of colour, juxtaposed against the colourful landscape of scenes reminiscent of life under the Tsar and the post-Cold War era. There are capitalist and Soviet themes throughout The Snow Queen, creating a journey through the history of an incredibly volatile country.
In his new documentary We Steal Secrets: The Story of Wikileaks, director Alex Gibney (Enron: The Smartest Guys in the Room and Client 9:…
At only 75 minutes, this film doesn’t overstay its welcome although it feels more like two hours given the snail-paced progress. The opening scenes do test the patience, given their lack of direction. However, the message emphasising the value of family and altruism is an endearing one that lasts beyond the final credits.
Based on a remake of a Russian classic, Gentlemen Of Fortune is a mistaken identity comedy that’s ability to amuse will depend entirely on…
From the country that may have created the social-realism genre with Sergei Eisenstein’s silent masterpiece Strike, A Long And Happy Life could be seen as something of a modern day re-assessment of working men’s status, that’s well made and tells the plight of its protagonist with a gripping sense of realism.
Upon its local release earlier this year, Metro was billed as Russia’s first Hollywood-style disaster movie. For better or worse, this is a fittingly accurate summary as to what audiences can expect from director Anton Megerdichev’s attempt to transplant mayhem and destruction of the American variety to the subways of Moscow.