Of all the film scenes throughout history, nothing has ever matched the simplistic chill of Jurassic Park: A single coffee cup, shot up close as it ripples with the heavy footsteps of the approaching T-Rex. Why does this single image continue to instill so much dread in the general public? Because monsters are big. Really big.
You’re running through a deep, dark wasteland, pursued by an unspeakable terror. You can’t get away fast enough, and for some reason your every move is punctuated by gothic choral music. But then a thought occurs, and you stop. Why are you running?
Once upon a time, during my first week of life as a fresher, I was introduced to a film that would remain lodged in my memory for the rest of eternity.
Thor – (May) – British, Shakespearean actor and director Kenneth Branagh brings his prowess to comic book territory, with an interesting cast including Natalie Portman, Anthony Hopkins and Idris Elba (aka Stringer Bell from The Wire).
So, the Narnia saga is set to continue with no particular order, and no-one particularly caring. With the announcement of The Magician’s Nephew, Adam Deane ponders the brief life and extended death of the franchise.
“They encounter a series of haphazard characters, some friendlier than others, but each with a set of psychological issues that remind the audience of the real plight of our protagonists.”
When we think of Paris now, we think of thin women, baguettes and the Eiffel Tower. Rewind several decades to the 1940s and we begin to see it wasn’t all that. From 1946 to 1958, the Fourth Republic of France was in its post-war operation (the Nazis had left and American films were once again allowed to be shown).
“I’m not mad on confident people. I can’t imagine myself ever making the Bon Jovi story.”
So it’s Halloween and you and your flatmates sit down to enjoy a couple of scary movies. But Which do you choose? Well definitely not Land of the Dead with its dull plotline and zombies that appear to have escaped from the local care home; nor Blade with its ridiculous action sequences, and lack of style no matter how hard it tries.
A lot has been said about the desensitisation of audiences to gore and horror. In the last decade, our preoccupation with our own desensitisation has been escalated, thanks to a series of ‘gorenography’ films; horror flicks that spend most of their time showing us grisly, disgusting deaths, maiming, and quite often some of the most startlingly repulsive images we’re ever likely to see.
Hannibal Lecter (Silence of the Lambs) – Okay I know! He’s only human but definitely deserves a special mention. In my opinion there is nothing more terrifying than a psychopath criminal who wants to eat you, but somehow looks like the sort of guy your desperately lonely mother would bring home as your ‘new father’. Talk about awkward atmosphere at the dinner table. ‘More liver anyone?’
“Snyder’s signature grimy, gothic aesthetic is ever present, as the girls bend time and space to encounter demon samurai, Steampunk-zombie-soldiers, Orcs, dragons, and futuristic alien-robots.”
“Almost everyone (including the men) were wearing corsets or fishnets of some description.”
“While the film is capable of touching moments and can be very comic at times, what really makes it special is the sense of threat that is carried throughout.”
Told from the fourth-wall-breaking-inner-voice of a 15 year old boy whose optimism and enthusiasm toward our simple world is contagious, Submarine will have you laughing from the opening.
“in this film you won’t find a cross-dressing Ken doll, or wise-cracking, leery sidekick”