What really counts in this post is the experiences, not the wording or grammar, etc… That’s my polite way of asking you to disregard the lazy, formulaic summaries and to focus on each, particular screening and the atmosphere each created. Also, please forgive my shoty camera work and the quality of some of the videos…
I Origins (Cast and Director Q and A):
I’m a Mike Cahill admirer. “Another Earth” blew me away and I couldn’t wait for his follow up…and it did not disappoint. Oh, and having Michael Pitt join Cahill in a post-screening Q and A was the icing on the cake.
99 Homes: (Cast and Director Q and A):
Michael Shannon, Laura Dern, and Andrew Garfield so close I could literally reach out and touch them…need I say more? Shannon is one of my all time favourite actors and the chance to hear him speak about his latest film nearly had me in tears of fortune and excitement.
Locke: (Stephen Knight Q and A):
If you know me, you know that my fandom in regards to Tom Hardy and “Peaky Blinders” knows no bounds. Naturally, having the chance to catch an advance screening of “Locke,” Hardy’s and “Peaky Blinders” creator Steven Knight’s latest collaboration, left me winded. It’s also the only time my mom has ever stepped into my world, the life of a die-hard cinephile. And the fact that she loved it in its entirety left me overjoyed.
The Imitation Game: (Cast and Crew Q and A):
Benedict Cumberbatch…in person…that is all… Oh, and Keira Knighley and Matthew Goode too.
Q and A: Part 1
The Guest: (Director/Writer/Cast Q and A):
This past year’s screening of “The Guest” during TIFF 2014’s Midnight Madness program was easily the most fun I’d had at a cinema all year. Simon Barrett and Adam Wingard are uproariously funny and extremely talented at what they do. Add in the charismatic, unbelievably charming and handsome Dan Stevens in addition to the lovely Maika Monroe, and you’ve got one hell of a theatre experience. The film itself cracks my top 10 of 2014 with ease and this screening has a lot to do with it. I hate to admit it, but having my lame-o friends undergo the craziness with me made all the difference in the world. Plus, we were the only ones to bring a beach ball! Which only added to the over-the-top atmosphere throughout the entire screening. I should probably explain… Midnight Madness is TIFF’s most out of control cinephile experience. There’s loud music beforehand, it starts at midnight, there’s the potent scent of substance abuse lingering in the air, and usually has a ball or two being tossed around. It’s essentially a rock concert that replaces the band with a film.
The 50 Year Argument: (Martin Scorsese Q and A):
This is, without question, the best experience I’ve ever had in a theatre to date, let alone 2014. Of course, any occasion that has you sitting in the presence of one of cinema’s greatest filmmakers is a monumental occurrence indeed. To be completely honest, the film, “The 50 Year Argument,” although thoroughly engaging and utterly interesting, was simply a welcomed formality, a terrific bonus. Being granted the opportunity to listen and digest Martin Scorsese discussing film and his career for an extended period of time is unlike any euphoric treat that’s ever graced itself to my presence.
Did you have a particularly awesome cinema experience this past year? Let me know in the comment section below, I’m dying to know! Also, if you haven’t contributed your voice to the latest poll, please click on Vote! in the bar above to do so…don’t make me chase you down!
TIFF 2014 is finally upon us! With that in mind, I present to you my schedule for the festivities. For up-to-the-minute coverage, reviews, media, Q and A, etc…make sure to follow me on twitter (@cinema_monster).
The 50 Year Argument: Martin Scorsese, David Tedeschi
Premium Screening with co-director Martin Scorsese in attendance.
Martin Scorsese co-directs this documentary tribute to the New York Review of Books, whose six-decade history saw it frequently on the frontlines of cultural and political debate.
’71: Yann Demange
In the divided city of Belfast at the height of The Troubles, a rookie British soldier (Jack O’Connell, Starred Up) finds himself separated from his unit and lost in IRA-controlled territory.
99 Homes: Ramin Bahrani
Premium Screening with Michael Shannon, Andrew Garfield, and director Ramin Bahrani in attendance.
Desperate to save his family home, an unemployed construction worker (Andrew Garfield) joins an unscrupulous realtor (Michael Shannon) in the dirty business of foreclosing on the disenfranchised.
Clouds of Sils Maria: Olivier Assayas
A veteran stage star (Juliette Binoche) turns to her assistant (Kristen Stewart) for solace as she jousts with an arrogant younger actress (Chloë Grace Moretz).
The Drop: Michael R. Roskam
A Brooklyn bartender finds himself caught between the cops and a crew of Chechen mobsters, in this gritty crime drama starring Tom Hardy, Matthias Schoenaerts (Rust & Bone), Noomi Rapace and the late, great James Gandolfini.
The Guest: Adam Wingard
Premium Screening with Dan Stevens and writer-director duo Simon Barrett and Adam Wingard in attendance.
Writer-director duo Simon Barrett and Adam Wingard (A Horrible Way to Die, You’re Next) serve up a slick, eighties-style action thriller with this story of a mysterious and devastatingly charming visitor (Downton Abbey’s Dan Stevens) who arrives at the home of a bereaved family claiming to be the best friend of their dead son.
The Imitation Game: Morten Tyldum
Premium Screening with Benedict Cumberbatch, Keira Knightley, Matthew Goode, and director Morten Tyldum in attendance.
Benedict Cumberbatch stars as brilliant Cambridge mathematician, cryptanalyst and pioneering computer scientist Alan Turing, who spearheaded the Enigma code-breaking operation during World War II and was later persecuted by the British government for his homosexuality.
Laggies: Lynn Shelton
Premium Screening with Chloe Grace Moretz, Keira Knightley, and Sam Rockwell in attendance.
Following a dismal high school reunion and a disastrous proposal of marriage, a going-nowhere twentysomething (Keira Knightley) falls in with a carefree teenager (Chloë Grace Moretz) and takes a week off to reassess her life. Co-starring Sam Rockwell (Moon).
Maps to the Stars: David Cronenberg
Julianne Moore, Mia Wasikowska, John Cusack, Sarah Gadon, and Robert Pattinson star in this acidulous vision of Tinseltown from Canadian master David Cronenberg.
Nightcrawler: Dan Gilroy
A drifter and petty thief (Jake Gyllenhaal) joins the nocturnal legions of scuzzy freelance photographers who scour the city for gruesome crime-scene footage, in this gripping portrait of the dark side of L.A. from veteran screenwriter and first-time director Dan Gilroy.
The Theory of Everything: James Marsh
While students at Cambridge, Stephen Hawking (Eddie Redmayne, Les Misérables) and Jane (Felicity Jones, The Invisible Woman) fall deeply in love. His earth-shattering diagnosis leads him to embark on his ambitious study of the nature of time with Jane fighting tirelessly by his side, in this moving adaptation of Jane Hawking’s memoir from Academy Award-winning director James Marsh (Man on Wire).
Which film are you most looking forward to at TIFF 2014? Be sure to let me know what your thoughts on the festival and my schedule are below!
There’s really nothing special about Ivan Locke, he’s actually quite common. He has a wife and two children. He departs for work every morning in a respectable vehicle and returns home to his family at day’s end. He dresses satisfactory, has a scruffy beard, and catches colds like the rest of us. At his place of employment, he answers to his superiors and manages those with an inferior title. He struggles mightily with his own mortality and cheers on his favourite football team. For reasons beyond his control, Ivan was deprived of a father figure growing up and sadly lives his life to achieve an unreachable status of fatherhood immaculacy, a goal his neglectful dad could never dream of fulfilling.
Ivan has lived his life as if it were a blueprint. He takes excruciating precautions not to misstep, as he understands the consequences of an error, no matter how small. Unfortunately however, Ivan has made but one mistake in his trivial existence and it will end up costing him everything. For you see, on any other day, Locke would be retuning home about now, but he should have realized that a single mistake sets off a chain reaction. And like a series of dominoes tumbling over one another, Ivan’s empire, slowly but surely, will collapse… Yes, I guess you could say Ivan Locke is nothing special.
If I’m to be honest, there’s a multitude of reasons why Steven Knight’s “Locke” is such a triumph. It’s incredibly strong dialogue, endless chain of symbolic metaphors, and brilliant use of rhetoric and pathos sets a marvellous, nearly flawless foundation which allows director/writer Steven Knight, his crew, and ensemble to not only take risks and part ways with convention, but to thrive inside their own trial and error. They consistently violate and push their own discoveries to an extreme like no filmmakers have done before them. I mean, some of the things done in this film left me flabbergasted. Not to mention that the realism of “Locke’s” premise, dialogue, and circumstances gracefully and painfully transcend the screen. In fact, it’s so revolutionary that regardless of the fact if you enjoy the film or not, one can’t help but admire and revere what Knight and company have done here. With “Locke,” less is truly more.
I do find it odd however, rather ironic actually, that a film centred around the notion that safety comes with structure and convention has such disdain towards method and canon. I mean, at countless moments we are gagged with the premise that to build something concrete, one needs feasibility, rules, design and stability. And yet, Steven Knight’s “Locke” is existing, contradictory proof. It’s quite the paradox when you think about it.
“Locke” is experimental, minimalist cinema at its finest. The film was shot entirely on three cameras mounted inside a BMW with only a handful of external shots sparsely spliced in. In addition to a minuscule budget, “Locke” was filmed in its entirety from start to finish each night twice during production, with Hardy inside the vehicle and the voice actors in a hotel room calling the number connected to the X5. There are so many little quirks and factual tidbits about the film that you just have to investigate and experience for your self. Like Tom Hardy having come down with a head cold immediately before production so the script was changed so his character could accommodate the sickness. Additionally, Hardy’s seemingly brilliant sporadic anger fits are just a bi-product of the X5’s incessant “low fuel warning” alarm interrupting his performance.
Now, with a director like Terrence Malick, for example, the scope can never be too large. Knight’s latest on the other hand, takes it down to the microscopic scale. And although the amplitude may vary, I can assure you there are equal amounts of talent and dedication on either end. And while Knight isn’t exactly new to filmmaking, actually he’s quite the wily veteran, he is still getting ahold of directing as “Locke” is only his second full-length feature behind the camera. It’s rather comical actually seeing as one would think Knight had been directing his entire life judging by the caliber of “Locke.” His mastery of the film’s mood is nothing short of superb. His ability to create this dark, almost apocalyptic atmosphere that lingers so heavy on the screen translates to his characters and the film’s overall effectiveness. Of course, it does help that the film’s soundtrack is as hauntingly ambient and foreboding as they come.
If you know me at all, it should be crystal clear that I can’t say enough good things about Tom Hardy. The guy’s a one man show, literally. I honestly thought I’d seen his best, but once again Hardy manages to dazzle in ways I never thought possible. I know I’ve been praising Knight’s technique, inventiveness, and ingenuity a lot in this review, but his efforts would have been for nothing had Hardy not carried the film in the manner he did. Shifting from a stoic, control hungry realist to an inconsolable and flawed man with seemingly little-to-no effort, Hardy appears to get better with each outing. His voice, eyes, and demeanour give Hardy unbelievable control of the screen, and the fact that the film takes place in such a confined space only enhances his abilities. I know it’s early, but Hardy’s performance in “Locke” is easily the best of 2014 thus far.
Ingenious, hard-hitting, and undoubtedly simple, “Locke” is an expressionistic piece that is, without question, one of a kind. Featuring a phenomenal performance from Tom Hardy and stern, resourceful direction from Steven Knight, “Locke” is one of 2014’s must-see.
Locke: 9 out of 10.
With the passing of each week, the more I enjoy concocting these top 10s, and this week’s entry is no different. As you may have guessed from the title or header image, this top 10 will feature, in my opinion, the best antiheroes in cinema history. As always, if you feel I’ve overlooked a contestant or listed one that shouldn’t have been considered, leave all comments and questions below. I’m always looking to improve the segment and love interacting with fellow film lovers.
Every now and then there comes along a protagonist who might go off the deep end. You know, beat someone half-to-death, take pleasure in humanities destruction, or have the occasional soul erased from the face of the earth. Now, however they chose to go about there business is irrelevant. We, as cinephiles love these colourful characters for their more shady characteristics and the nonchalant way they handle things that would send normal people into spiralling depression.
Let’s do it!
Severus Snape (Harry Potter series, Alan Rickman), Oh-dae Su (Oldboy, Min-sik Choi), Marv (Sin City, Mickey Rourke), Lisbeth Salander (The Girl With the Dragon Tattoo, Rooney Mara), Patrick Bateman (American Psycho, Christian Bale), Daniel Plainview (There Will Be Blood, Daniel Day Lews), Kim Soo-hyeon (Byung-hun Lee, I Saw the Devil).
10: Jules Winnfield (Pulp Fiction, Samuel L. Jackson)
Jules is someone who really radiates anti-heroism. Almost like a gun-slinger with a bible in one hand and a gun in the other.
9: Charles Bronson (Bronson, Tom Hardy)
Talk about taking pleasure in abhorrent behaviour. All Bronson wanted was to fight for the sake of fighting and to become Britain’s most violent prisoner.
8: The Driver (Drive, Ryan Gosling)
Torn between his only skill-set and doing right by his friends. The Driver may lull you in with his heartwarming nature, but make no mistake, he is ruthless and unforgiving.
7: Tyler Durden (Fight Club, Brad Pitt)
Driven by a desire to disrupt the world and destroy his opinion of oppression. Tyler may be trying to help out his bud, but he accomplishes it in true antihero fashion.
6: Alex (A Clockwork Orange, Malcolm McDowell)
Alex simply wants to see others suffer, whether it be through violence, mental degradation, or dominance.
5: Leon (Leon: The Professional, Jean Reno)
An assassin with a heart of gold.
4: Tony Montana (Scarface, Al Pacino)
Willing to do whatever is necessary to become his own interpretation of king. Tony Montana is as cold-blooded as they come.
3: Travis Bickle (Taxi Driver, Robert De Niro)
One can’t help but feel for Travis, attempting to free the unfortunate girl sucked into prostitution. However, his sociopathic mentality, obsessions with firearms, and desire to murder is too repulsive to overlook.
2: Henry Hill (Goodfellas, Ray Liotta)
From the beginning, we are led to believe that Hill and his fellow thugs are normal, everyday hard-working guys. However, the truth is much more sinister and ferocious.
1: Michael Corleone (The Godfather, Al Pacino)
Although we’ve been given a veritable gaze into the Corleone family and begin to care for them. There is no denying that this mafia family will do whatever it takes to remain atop, especially Michael.
Okay all, that’ll do it for this week’s edition of the top 10, hope you all enjoyed it. Have a great weekend!
As far as being acknowledged for a piece of work goes, an Oscar nomination is easily one of the most difficult to earn. That being said, year after year, there are front runners. The same, familiar faces we, as cinephiles, have come to expect great things from. And every year, as sure as the seasons change, one of these remarkable actors is fortunate enough to capture the gold statue. The talented men below, are not one of these lucky individuals. For whatever reason, the 10 men listed below can’t seem to close the deal. Granted, it isn’t for a lack of effort or quality, neither is it due to some misguided bias. It just so happens that every performance they’ve given that has eventually earned them this elusive recognition, has been trumped by another individual. Now, we may not unanimously agree on the winner yearly, but one thing we can all agree on, is the men listed below, should have some Oscar gold on their shelves.
The way I concluded on how to compile this top 10 is simple. Each actor mentioned in the top 10 has a performance I feel should have earned them an Oscar win. A lot of the men listed have been nominated, some more than once. Nonetheless, have yet to take home the hardware. As for the “still time” and “honourable mentions,” they might not have been nominated previously, but I still feel will win an Oscar in my lifetime.
Ryan Gosling, Michael Fassbender, Cillian Murphy, Benedict Cumberbatch, Tom Hardy, Michael Shannon.
Johnny Depp, John Travolta, Viggo Mortensen, Vincent Cassel, Harrison Ford, Jim Carrey, Ian McKellan, Joaquin Phoenix, Patrick Stewart.
Now, without further ado, let’s get into it!
10: Ed Harris – The Truman Show
A four-time Oscar nominee, Ed Harris just can’t seem to get the respect he deserves or be able to catch a break.
9: Edward Norton – American History X
“Fight Club,” “Moonrise Kingdom,” and “American History X,” Edward Norton has no shortage of great performances under his belt. Now, if he could just get that elusive win, we could all cross him off of our lists.
8: Bill Murray – Lost in Translation
His best chance to win the golden statue may have already passed with the release of “Lost in Translation.” But who knows, maybe he can surprise us once more and finally grab a victory.
7: Tom Cruise – Jerry McGuire
All Cruise craziness aside, he has stared in numerous films that should have garnered him at least one Oscar win, if not more.
6: Sam Rockwell – Moon
Many of you may not agree with this choice. Nonetheless, I feel Sam Rockwell has given the performance of our lifetime in “Moon” and should have been at least recognized for it, in my opinion, he should have been given the Oscar hands down.
5: Samuel L. Jackson – Pulp Fiction
Really? How did Jackson not win an Oscar for his performance in “Pulp Fiction?”
4: Liam Neeson – Schindler’s List
Another no-brainer. Liam Neeson is an outstanding actor, yet has not earned an Oscar.
3: Gary Oldman – Tinker Tailor Soldier Spy
One of the most illustrious actors on this list, Mr. Oldman has only been nominated once. While it should have been more, his performance in “Tinker Tailor Soldier Spy” should have gotten him the win.
2: Brad Pitt – 12 Monkeys
Now we are getting into ridiculousness. Take your pick, Pitt should have multiple Oscar wins, but has yet to receive his first, utterly insane.
1: Leonardo DiCaprio – The Aviator
Arguably one of the best actors to ever grace the big screen. Leonardo DiCaprio has yet to win an Oscar. WIth a plethora of performances that should have gotten him at least one win. We, as cinephiles can only hope he will be recognized for his work sometime in the near future.
Alright, that’ll do it for this week’s top 10, I sincerely hope you all enjoyed it. As always, if you feel I overlooked an actor or listed one that should have excluded from this list, please leave all comments and questions below. Everyone have an outstanding weekend!
Outlandishly complex, visually mesmerizing, and action-packed. “Inception” is an intelligent blockbuster that bursts forth from the screen with all the spectacle and wonder that makes cinema so riveting. With infinite staying-power fortified by unlimited ingenuity, an empathetic human element, and dynamism. “Inception” is easily one of the best science fiction films to ever be released, if not the best. Written and directed by the distinguished Christopher Nolan. “Inception” is a brilliant addition to his already stellar collection of highly memorable films and adds another layer of superlativeness to his stern and bright reputation. Completed by an all-star cast and an absolutely epic score from the incredibly talented Hans Zimmer. “Inception” is an unparalleled cinematic experience and regardless of its intricate story or the grandness of its heart-stopping scale, should stand the test of time (no pun intended).
Dominic Cobb (DiCaprio) is a skilled thief who is somewhat of a master when it comes to the artistic science of extraction. Simply put, Dom can be inserted into anyones dreams and steal their most valuable secrets and information. After a failed job, Dom and his partner Arthur (Levitt) are hired by Saito (Ken Watanabe), the original target, to convince a rival company’s owner to disband his inheritance. This tactic is officially known as inception. Upon recruiting Eames (Hardy), Ariadne (Page), and a few others, the group begins plotting against their target, Robert Fischer (Murphy), unaware that Dominic is hiding a dark and possibly dangerous secret about his late wife Mal (Cotillard).
Once again Nolan is able to top his previous efforts with a completely unique and bewildering idea presented with his usual flare and style. Evidently, more than a few like to poke fun at “Inception” claiming its premise as idiotic, amongst other aspects they feel to be miscalculated. Nonetheless, Nolan’s ability to transcend and harness the abstract remains unrivalled and is a much needed jump-start for the currently unbalanced film industry. While the path he has carved for cinema might not be for everyone. Cinephiles and critics universally agree that Nolan is a mind like no other. Arguably the most successful, forward-thinking, genius working in film as of the moment. Nolan always pushes the envelope and upon assisting in the much needed reboot of the Superman franchise, it appears the sky’s the limit for this one of a kind filmmaker, but I digress, back to “Inception.”
Very rarely does a film come along that proves to be a game-changer, and in every sense, “Inception” is one of these films. Whether it is the folding over of an entire city, mind-churning paradoxes, or astoundingly choreographed action sequences, “Inception” is deliciously appealing. Granted, a majority of these magical, majestic, delectable scenes take place in a fantastical realm. However it doesn’t degrade the sheer intellect, talent, and innovation infused into every single one of these miraculous scenes. And while the production value and intricacy of these aspects is enough for them to stand on their own. What truly puts “Inception” at another level is the brains that accompany the brawn. Equally matched intellectually and visually, “Inception” is its own excellent contrast. The mind and eyes receive quite the workout, yet, never has a strenuous effort felt so euphoric.
Talk about easy on the eyes. “Inception” has the outwardly striking, abundantly accomplished, and utterly skilled cast to assist in the completing of this masterpiece. Starring the likes of Leonardo DiCaprio, Tom Hardy, Joseph Gordon-Levitt, Ellen Page, Cillian Murphy, Marion Cottilard, and Michael Cane, amongst other proficient personnel . “Inception” is undoubtedly the full package with an ensemble that knows no weakness.
Many will deny it having seen a few of these stars in previous films, but “Inception” officially launched Tom Hardy, Joseph Gordon-Levitt, and Cillian Murphy into the mainstream. Each give a humorous and heartfelt performance that instantly made them crowd favourites. Cottilard and Page do an outstanding job grounding this flick, adding a much needed emotional element to this larger-than-life picture. What can one say about Leonardo DiCaprio, he always makes it look so effortless, and I wouldn’t have it any other way. Finally, to quote the great Mr. Nolan, “it’s always good to have a little Michael Caine in your film.”
Literally appealing to every sense, “Inception” is not to be missed by anyone in existence, cinephile or not…and how about that ending?
Inception: 9 out of 10.
We might be a bit late to this particular list’s party, but better now than never. This was a difficult list to compile, lots of great pictures to chose from. But myself (monster1711) and my bud (cinema2033) think we’ve created a diverse and respectable list. If you feel that we overlooked a certain film or have any suggestions for future top 10’s, please comment below. Without further anticipation, let’s get started.
10. Looper. Easily the best science fiction film of the year. Featuring terrific performances from Joseph Gordon-Levitt and Bruce Willis, Looper is a brain scrambler that will leave you stunned.
9. The Cabin in the Woods. Speaking of brain scramblers. The Cabin in the Woods is definitely the most bizarre film of the year. Mixing the hilarious and terrifying elements of horror and poking fun at them, it is sure to be a cult favourite.
8. Skyfall. Quite possibly the best Bond film to ever grace the big screen. Skyfall is witty, charming, and one hell of a ride. With towering performances from Daniel Craig and Javier Bardem, Skyfall is not to be missed.
7. Seven Psychopaths. Another entry into Martin McDonagh’s violent comedies. Seven Psychopaths is full of violence, hilarity, and outstanding performances from Sam Rockwell and Christopher Walken.
6. Argo. Winner of the 2012 Oscar for best picture, need we say more? Directed and starring Ben Affleck, Argo is history come alive.
5. Silver Linings Playbook. Thought by many to be the best picture of 2012. Silver Linings Playbook is another solid outing from David O. Russell and features a return to form for Robert De Niro. Not to mention the emergence of Bradley Cooper and Jennifer Lawrence as real acting heavyweights.
4. On The Road. Possibly the most controversial film on the list, On The Road left audiences divided. Based on Jack Kerouac’s generation defining novel. On The Road features entrancing performances from Sam Riley, Garrett Hedlund, and especially the lovely Kristen Stewart.
3. Django Unchained. The second chapter in Tarantino’s yet to be finished history trilogy. Django Unchained landed Christoph Waltz another supporting actor Oscar. Also starring Jamie Foxx, Samuel L. Jackson, and a deliciously evil performance from Leonardo DiCaprio, Django Unchained is violently hilarious.
2. Zero Dark Thirty. Best picture nominee Zero Dark Thirty is brought to you by the creators of The Hurt Locker. There really isn’t anything else that needs to be said. Incredibly tense, monumental performances, and impeccably scripted. Zero Dark Thirty is an unstoppable force.
1. The Dark Knight Rises. The conclusion to the Dark Knight trilogy, directed by the brilliant Christopher Nolan. With Tom Hardy as Bane, The Dark Knight Rises has the best villain performance of the year. Including an unmatchable cast and an epic finale no one saw coming, The Dark Knight Rises might be the greatest comic book adapted film in the history of cinema.
Honourable Mentions. Lincoln, Sightseers, Prometheus, The Avengers, The Hobbit: An Unexpected Journey, End of Watch.
Where to begin with a film that is so entrancing and cataclysmic it sets off air raid sirens to everyone of its viewers senses. Christopher Nolan once again manages to spawn a villain more loveable than the superhero. As destructive and necessary his evil may be, Bane has a method to his madness and somehow this insanity is acceptable and cheer worthy. The scale of the entire film is stupefying and the entire ensemble is out of this world. Literally featuring one of the greatest casts ever assembled. Leading The Dark Knight Rises is Christian Bale, Anne Hathaway, Michael Caine, Tom Hardy, Gary Oldman, Marion Cotillard, Morgan Freeman, and Joseph Gordon Levitt. Directed by the previously mentioned Christopher Nolan or otherwise known as the series saviour. The Dark Knight trilogy’s beginnings may have grown from a simple comic book, but what the cast and crew have done is not that of the imagination from a few colourful pages. The trilogy has shattered stereotypes and the box office, redefined a genre, and set the bar for every comic book film to follow.
Eight years after the events in The Dark Knight, Bruce Wayne (Bale) is a recluse trying to recover mentally and physically from his arduous battles for Gotham. At the anniversary party of Harvey Dent’s death at Bruce’s manor, a seemingly normal maid steals from Mr. Wayne’s safe and proves elusive in his attempts to capture her. Bruce later finds out that this thief is career burglar Selina Kyle (Hathaway), however he is unaware that she is the least of his problems. Commissioner Gordon (Oldman) and a hot headed cop named Blake (Levitt) out on a call run into trouble. The commissioner is taken captive by the evil force named Bane (Hardy). While dealing with his financial problems with Mr. Fox (Freeman) and Miranda Tate (Cotillard), his return to the world, and the absence of Alfred (Caine), Bruce Wayne now must deal with the terrorist, Bane.
One would have figured it safe to assume that it would be impossible for The Dark Knight’s follow up to compete, so most would watch The Dark Knight Rises with low standards. When in actuality the bar along with our expectations should have continued to rise (no pun intended). Yes Heath Ledger’s performance was delightfully mad and morally impartial, but he wasn’t the only aspect of that great cinematic achievement. Regardless of his tragic death, would the story have continued with the Joker? Calculating the way Nolan and his crew function, I think it’s a safe bet that they would have gone in a new direction. Therefore, for any of those who dismissed the sequel without giving it a chance or those not respecting Nolan and cast. it is your loss. The Dark Knight Rises, one of the best films of all time, let alone 2012 is an electric and stirring thrill ride that is deserving of our praise, its runtime, and to hold the Batman legacy for eternity.
The Dark Knight Rises: 9 out of 10.
About as peculiar of a movie you’ll find, Bronson is a highly unique, highly surreal biographical drama that is visually extreme and darkly comic. Bronson is brought to life on the big screen by the brilliant Nicolas Winding Refn who’s anticipated follow up to 2011’s cult hit Drive, Only God Forgives, is ready to hit theatres in May of 2013. Tom Hardy takes on the visceral and challenging role of press proclaimed “most violent prisoner in Britain,” Michael Gordon Peterson, who later changed his name to Charles Bronson with the help of his bare-knuckle boxing promoter. Bronson is a polarizing look into the life of Charles Bronson and the harsh conditions and frightening reality he lived in.
As a young adult, Michael Peterson (Hardy) had his head full of incompetent schemes and the need to make a name for himself. With a shoddy shotgun with the barrels sawed off, Peterson went off to achieve his dreams by robbing a post office. After being apprehended rather quickly, Peterson was sentenced to 7 years in prison. During that time, Peterson continued on his wayward path to stardom by physically assaulting other inmates and guards. Eventually serving 34 years in prison, 30 of which were in solitary confinement, quite possibly by choice, the young ambitious man that was Michael Peterson turned into a turmoil hardened man capable of anything.
Focusing just as much time on the undertones and artistic value of Charles Bronson as well as the anger and rebellion. Refn and Hardy transform what could have been a tale of cerebral violence into a multidimensional character the audience can sympathize with. Tom Hardy goes all out for Bronson. Adding roughly 40 pounds to his frame, every ounce of effort Hardy puts into this film pays dividends which haven’t been seen since his best outing in Stuart: A Life Backwards. Refn enhances the comedic quality of Hardy and displays it subtly, the way it should be dealt with alongside the bitter and at times upsetting themes throughout Bronson. Bronson may not be for everyone, it is unorthodox, elemental, and excessive. That being said, Bronson is a cinematic highlight containing a career defining performance from Hardy and is an early building block for one of best current directors Nicolas Winding Refn, all these qualities make Bronson a must see.
Bronson: 8.5 out of 10.