Every year the game industry prides itself on its big name, big budget AAA titles. These titles are announced usually months or years beforehand and help gamers determine how they are to spend their money and time going into the future based on internet hype and publisher marketing. While these AAA games will receive their …
The objectification of women and the ravenous consumption of celebrity culture are some of the very clear themes that inform the narrative of The Corpse of Anna Fritz, the debut feature of Spanish director Hèctor Hernández Vicens.
‘Mountains May Depart’ Movie Review – is a partly gripping relationship drama that overstays its welcome
Following the brilliant A Touch of Sin, auteur and Chinese master Jia Zhangke returns with a similarly structured, yet more narratively linked, portrait of China in the new millennium. Mountains May Depart is two-thirds of a gripping relationship drama that captures not only a China in constant flux, but also the universality of human experience.
‘Bone Tomahawk’ Movie Review – is a character-driven Western with a horror spin that engages despite its languid pace
To describe Bone Tomahawk as a “horror-Western” is good shorthand, but could be a little misleading. The film indeed has horror elements but novelist turned screenwriter/director S. Craig Zahler seems more interested in spending time with his four main protagonists as they travel across country, letting their different personalities and world views, and the harshness of the terrain, challenge them on their journey
‘Assassination’ Movie Review – brings the Tarantino touch to an important period of South Korean history
Assassination is pure entertainment. Director Choi Dong-hoon pulls together an astonishing group of talent both in front and behind the camera to portray a story close to South Korea’s heart with humour, pathos, gorgeous cinematography and a series of impressively bombastic action scenes to create one of the most exciting adventure films in recent years.
Cemetery of Splendour Written and Directed by Apichatpong Weerasethakul 2015, Thailand/UK/Germany/France The unconscious dream state that connects each of Apichatpong Weerasethakul’s films begins in his latest when frequent collaborator, Jenjira Pongpas (Her characters’ names devolving film to film from ‘Pa Jane’, ‘Jen’ and now simply ‘Je’), stumbles into the frame with her ft. high platform sandal …
Anyone growing into pop culture consciousness during the mid-2000s will be familiar with a certain type of Tom Cruise, one labeled with some criticism in a recent Buzzfeed article as “Tom Cruise 2.0.” To them, Tom Cruise may have first become familiar as Ethan Hunt in the first Mission: Impossible movie, as an action star who, in spite of fearful insurance agents and publicists, prefers to do his own stunts—especially if they include declaring maniacal love for Katie Holmes atop Oprah Winfrey’s couch. He was probably their first introduction to the alien world of Scientology, or perhaps already known as the face of another hero thrust into the supernatural, having once served as the model for the titular character in Disney’s Aladdin.
A feeling of gloom pervades every frame of Bridgend, the Danish teen drama which makes its Canadian premiere at Fantasia. Even as the kids drink and dance in ecstasy (in a scene which wouldn’t be out of place in Skins, the British soap where star Hannah Murray got her break) or skinny dip in large groups, there’s an undeniable sense of melancholy in their maniacal celebrations. Given the sadness evident in otherwise ebullient scenes such as these, the ominous shots of the countryside shrouded in darkness or mournful messages on a computer screen make life in the film’s titular Welsh town seem unbearably grim.
The Marquis de Sade wrote, “There is no better way to know death than to link it with some licentious image”. Georges Bataille latched onto this idea, arguing that without death there is no desire. Factors of procreation and beauty play a role in sex, but true desire is rooted in our mortality: we want to fuck because we know we will die. The link between death and desire is at the heart of the Blaine brothers’ debut feature, Nina Forever.
We find ourselves in a time and place where the voice of feminism has never been louder. Issues like Gamer Gate, sexism in Cosplay, a woman’s right to an opinion on fantasy, comics, or horror, as well as a myriad of issues outside the realm of pop culture like slut shaming, and blame for being …