Let’s commence this review with a prediction – this time next year, you’ll very likely forget Steven Spielberg’s presidential drama Lincoln. That’s how much power and impact this film possess. Whatever…
Danny Boyle certainly knows how to hold your attention in this exhilaratingly told motivational drama. Not a single minute of 127 Hours drips with abandon nor steers into cheapo sentimentality. This is dignified, glorious and triumphant, with a winning James Franco as the American self-made hero, Aron Ralston.
An endlessly fascinating, intelligent work, effortlessly fusing neo-noir crime thriller with absurdist social satire. Yet above all, there’s a heart-wrenching melodrama about a human tragedy called maternal love, anchored by a tremendous, towering performance by Kim. One of the year’s best films.
As profound and technically daring as any incendiary works of the 1960s French New Wave. Varda crafts a quietly thoughtful yet compelling portrait of femininity in an era dominated by the boys of the nouvelle vague. This belongs to a higher order of sophisticated filmmaking, which arguably ranks alongside Godard’s A Bout de Souffle and Truffaut’s Les Quatre Cents Coups.
This is exactly what you’d expect with your typical Hollywood mainstream fare – a lot of noise and little story, and if there’s one, it’s clunky, convoluted, cluttered and damningly clichéd. Save from the swagger of one Robert Downey Jr., Iron Man 2 is nothing but an orgy of FX metal play that’s as emotionally catatonic as a junkyard.