The movie Mistress America, like its character Brooke, walks a fine line between charming and grating. Director Noah Baumbach’s usual acidic wit is on full display here but it’s tempered by the sentimentality that frequent collaborator Greta Gerwig (who co-wrote with Baumbach) provides. (more…)
I’m not sure if fans were clamouring to see Roger Moore dressed as a sad clown during the climax of a James Bond film, but the suggestively titled Octopussy fulfils that wish anyway.
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It’s all in the eyes. In The Gift, Joel Edgerton’s deeply creepy Gordo has dark ones – “black eyes like a doll’s eyes” as Quint from Jaws would say. (more…)
The issues facing biopics can be insurmountable: the risk of catering too much to still living subjects, shying away from harsh truths, stuffing the film with too much incident, performances devolving into simple impersonations, and many more. (more…)
Like the child that rebels against hippie parents by being conservative, For Your Eyes Only steers the Bond franchise towards gritty realism after the fantastical sci-fi of Moonraker.
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It’s great to see Arnold Schwarzenegger back on the big screen but he continues to be the best thing in bad movies during his rocky comeback. (more…)
The success of Star Wars in 1977 prompted Eon to speed up production on Moonraker, a bandwagon-jumping science fiction Bond film that proved Earth alone couldn’t contain 007’s exploits.
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The romantic comedy is a moribund genre, worn down by years of formulaic pap that threatens to wash away the few diamonds in the rough. Part of their fading appeal is the ironclad tropes that they rely on, which also means that so many romcoms relentlessly hit the same story beats. (more…)
Tom Cruise’s Ethan Hunt may be the most malleable action hero in history – a blank template for (arguably) the biggest movie star in the world to inhabit. Fittingly, his Mission: Impossible films have become a director’s showcase that are flexible enough to follow the popular movie trends of the day. (more…)
Glen On Film 