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    The Definitive Movies of 1995

    10. Waterworld Directed by: Kevin Reynolds It could be the flop of all flops. At the time, “Waterworld” was the most expensive film ever made. Starring Kevin Costner, “Waterworld” is a science-fiction/fantasy film taking place roughly 500 years after the polar ice caps melted in the beginning of the 21st century, effectively covering the entire […] More

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    ‘Cymbeline’, the latest Shakespeare adaptation, gets a new trailer

    As one of the most popular playwrights in the world, a number of Shakespeare’s works have been adapted for the big screen, with filmmakers such as Baz Luhrmann, Kenneth Branagh, and Joss Whedon drawing from Shakespeare’s material. Filmmaker Michael Almereyda himself added to the collection with 2000’s Hamlet, and his latest feature sees him returning […] More

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    Script Matters: ‘Snowpiercer’ builds a new kind of prison

    South Korean filmmaker, Joon-ho Bong, has never been afraid of mixing genres.  In his latest and most challenging film to date, Snowpiercer, Bong mixes action, sci-fi and satire to create a delightfully twisted prison break story.  Snowpiercer owes much of its effectiveness to an ingenious script that uses 3 discrete acts to effortlessly shift its […] More

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    TIFF 2013: ‘Gravity’ is a thrilling, jaw-dropping special-effects showcase

    In 1902, the French screen pioneer Georges Melies made Le Voyage Dans La Lune, an interstellar breakthrough in special effects and fantastical imagination that beguiled and bewildered audiences. Since that film, the science-fiction genre has passed through evolutionary wormholes every decade or so, due to the pioneering cognition of the likes of Fritz Lang, Stanley Kubrick, Andrei Tarkovsky, and, from a purely technological standpoint, James Cameron, where the very mechanics of cinematic representation and realization are docked with technical advances in optics, film stocks and lenses, or the crushing and retexturing of digital blizzards of zeroes and ones and post-production manipulation as the medium moves from physical celluloid to analog abduction. More

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    Cinema’s Greatest Villains: The 2000s

    Villains are an essential part of genre cinema.  Though scores of filmmakers have attempted to create truly great villains throughout the history of film, only a few have succeeded in achieving this difficult goal. This article will take a look at the great film villains of the 2000’s. The criteria for this article is the […] More

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    Cinema’s Greatest Villains: The 1990’s

    Villains have always been and will always be some of the most fascinating and memorable characters in the world of genre film.  Here we will take a look at the greatest villains of cinema from the 1990’s. The criteria for this article is the same as in my previous articles Cinema’s Greatest Villains: The 1970’s […] More

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    ‘The Truman Show’ an intellectual and emotional masterpiece

    High concept is always a tricky beast. By its very nature, it always threatens to completely overshadow its own efforts and render the effort to capture the wonder of an emphatic hypothetical question rather academic. The query pondered by Peter Weir’s 1998 satire The Truman Show was one that any viewer can appreciate; ‘What if every moment of your life was being televised for the entertainment of the masses?’ More

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    Friday (neo)Noir: ‘A History of Violence’ marks Cronenberg’s stunning venture into high minded drama

    2005, judging by the theatrical releases, was an exceptional year for the neonoir sub-genre. Last summer, for the special Friday (neo)Noir series, reviews for Rian Johnson’s breakout independent hit Brick and Robert Rodriguez’s cinematic visualization of Sin City, both from 2005, were written. A couple of weeks ago another neonoir from the same year was put under the microscope, Shane Black’s Kiss Kiss Bang Bang. This week features, yes, still another entry from that illustrious year, one from the most lauded director of the bunch, David Cronenberg’s A History of Violence. More

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    ‘Pain & Gain’ a first for director Michael Bay: mostly gain, little pain

    If cinema has anything to say about it, the modern American dream is best typified by a grandiose level of entitlement in those who covet it most of all. Just a month ago, we saw Spring Breakers, a nightmarish, neon piece of grotesquerie, compelling experimental art about nubile young women trying to attain their hedonistic Western utopia by stealing from and killing people who dared get in their way, consequences be damned. More

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