Is there an actor better than Brendan Gleeson when it comes to evoking the strange, rare combination of exasperation and sadness? Look at his filmography and you’ll find funny, poignant performances throughout, from The General and The Tailor of Panama via 28 Days Later (he makes it out of the film before the shaky ending, though not before breaking our hearts) to Martin McDonagh’s In Bruges, where he’s the perfect complement to Colin Farrell’s thick, tragicomic protagonist.
I like drifters. I am fascinated by them because I am not one of them, and never really have been. Story-wise, you never know what’s going to happen to them, or where they will go. Neither do they. Their stories are full of surprises, and screenwriters and directors often use them as the center of a road movie, the kind that doesn’t seem to have a destination. Star, the young heroine in Andrea Arnold’s American Honey, played by newcomer Sasha Lane, is not a drifter in the strictest sense, but she is on the road because she’s had it with her old life: looking after two kids that are not her own, avoiding her lecherous boyfriend, eating out of dumpsters, being broke. Something needs to happen, and soon. Continue reading
I was hypnotized by The Night Of for five or six episodes, which isn’t bad at all considering that it’s an eight-part HBO miniseries. To me, it seemed to scratch the itch that season 2 of True Detective left me with. It’s on the dark side of things: it mostly takes place at night and/or indoors, but even the exterior daylight scenes look sort of gloomy. It’s about crime and punishment, and about the law, about justice and injustice, and about courts and prison. It’s set in New York, but is based on the British TV series Criminal Justice from 2008-09, starring Ben Whishaw. The Night Of, however, has no problem standing on its own. Continue reading
The People vs. Fritz Bauer made me angry. I think it is supposed to. Fritz Bauer was the man in charge of bringing former Nazi key criminals to justice. He worked for the courts in Frankfurt am Main as a district attorney and was put in charge by the German department of justice in the late 50s at his own request when the majority of lawmen there were either former Nazis themselves or at least sympathizers. His task was close to impossible: he was a Jew, a Socialist and a homosexual. It’s entirely possible that his superiors thought that he would be inefficient. In this movie, his department ridicules him, his legal team is utterly useless, unable to locate Bormann or Mengele for many years. His health is failing. In fact, the movie starts with him almost dying. Continue reading
One of the things that video games can do magnificently is create worlds. These posts are an occasional exploration of games that I love because of where they take me.
The little robot’s steps are clumsy, awkward, as if both the use of his legs and the concept of gravity were new to him. B.U.D. is miles away from the usual video game robots – they’re often metallic warriors and/or cannon fodder – and closer to the likes of WALL-E, if Pixar’s garbage collector was a toddler. And like his precursor, B.U.D. is given a momentous ecological task: he must grow the so-called Star Plant on a faraway planet, and in doing so he has to scale the plant to a height of 2 kilometres – which would be difficult enough for the likes of Mission Impossible’s Ethan Hunt, let alone someone who is barely able to walk in a straight line.
hen I first opened Google today, I didn’t immediately recognise what the doodle represented. As I clicked through the various pictures, though, I experienced a rush of memories and emotions: there were Atréju and Fuchur (that’s what he’s called in the original, not Falkor), there was the Ivory Tower, home of the Childlike Empress, there were Perelin, the Night Forest, and the Silver City of Amarganth. How could I not recognise them, seeing how I must have read Michael Ende’s The Neverending Story more than a dozen times? Continue reading
Midnight Special is a sci-fi movie for those moviegoers who wouldn’t dream of going to see a sci-fi movie. It avoids many plot points that the genre might bring: no space wars, no dark against light, no dogfights, no exploding planets, no time travel. There isn’t even a spaceship in sight. It trusts its characters enough to drive the story forward and keeps a moderate pace so that we have a chance to think about how those three characters, two men and a boy, repeatedly find themselves in a boarded-up motel room.