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Last post August 18, 2015, 11:30:34 AM
by Luce
Post Mortem 11

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There I was....

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* BBC Films

* The Guardian (Film)

  • post Raw director Julia Ducournau: 'Cannibalism is part of humanity' - 30 March
  • Her flesh-eating horror movie attained notoriety when two people fainted at a screening. But, says the French feminist film-maker, no one talks about the other 998 in the audience ?Early on in Julia Ducournau?s Raw, a group of veterinary students are shown how to sedate a horse. It?s distressing, watching the beast collapse after being administered ketamine, and more so because Ducournau presents it so matter of factly: she got permission to film a sedation that was already scheduled to happen at a veterinary school, and just stuck her actors in the frame. She wanted to show how even these majestic creatures are at the mercy of their bodies, she explains, and becomes defiant as she links that back to Raw?s central character, 16-year-old Justine (Garance Marillier).?I didn?t want to glamorise anything, especially with the girls? bodies,? she says. ?A body is a body. In every movie we see, women have to be beautiful and fit or whatever the hell, and they have to fit a certain box, and no: women fart, poop, pee, burp. This is why you can relate to them, because they are not these heavenly creatures; they are real people with real feelings, and when they go down, they go down. This is something we don?t see enough of. Always in movies when people cry, they cry like this? ? she mimes a sorrowful weep ? ?like Saint Mary crying. We?re all equal with our bodies, so fuck off.? Continue reading...
  • post Man Down review ? Shia LaBeouf in a postapocalyptic shambles - 30 March
  • The story of a marine who returns from Afghanistan to find an unidentified disaster has made a wasteland of the US is unbearably self-importantAn oppressive cloud of macho self-pity hangs over this muddled and overwrought movie, which involves a cliched narrative device that is glib and unsatisfying. Shia LeBeouf is Gabe, a US marine corps veteran traumatised by service in Afghanistan, where he has been involved in a brutal incident with civilians and upset by a personal discovery during his Skype calls home. To his horror, he returns to the US to find it has been overtaken by some unnamed catastrophe ? rendered by pretty standard-issue, digitally created wrecked landscapes ? and sets out with his army buddy Dev (Jai Courtney) to find his young son somewhere in this no man?s land. Continue reading...
  • post Who should direct Donald Trump: the Movie? Step forward, Werner Herzog - 30 March
  • With his yen for monomaniacal oddballs and love of an unhappy ending, the German film-maker is surely the perfect person to tackle a Trump biopicAs we inch towards day 100 of his ignoble reign, it is becoming increasingly clear that Donald Trump is going to remain president of the United States for a fair while yet (bar a sudden and unlikely show of courage from Republican politicians). Which means at some point we?ll have to start thinking about those big questions around the legacy of POTUS 45. What, for example, will a Trump presidential library look like? Will it contain three books or four? Which of the faces on Mount Rushmore is Trump going to replace with his own visage? And most importantly of all, for film fans at least ? who will direct Trump: The Movie?Because make no mistake, there will be a Trump movie. We?re only a few months into his presidency and already HBO have announced that a miniseries about his election win is in the works. From cable news to late-night chat shows, television has turned the Trump presidency into a licence to print money, which you have to imagine is attracting envious glances from the film industry. Surely it?s not a question of if but when ? and of who should direct it. Continue reading...
  • post Free Fire review ? warehouse shootout is bang on target | Peter Bradshaw's film of the week - 30 March
  • Ben Wheatley?s thriller about a protracted gun battle, starring Brie Larson and Cillian Murphy, has no plot ? but it?s smart, stylish and dazzlingly put together The restlessly inventive director Ben Wheatley gives us the crime-thriller equivalent of a violently atonal jazz suite lasting an hour and a half, like a Sam Peckinpah movie storyboarded by Ornette Coleman and Sun Ra. Gunshots here are as frequent, numerous and noisy as an avant garde drumroll. The film turns out to be plotless, formless, shapeless, McGuffinless, directionless and ruthless, but it is dazzlingly well put together, with some lethal zingers amid the gunfire and a droll use of John Denver on the soundtrack ? alluding subtextually, I suspect, to the urban myth about Denver?s war service in Vietnam.It?s supremely stylish and smart, and the melee becomes so disorientating that you forget, almost, that the whole thing is taking place in just the one place. In some ways it resembles a stage-play production of Tarantino?s Reservoir Dogs, like the one that Michael Fassbender was said to have mounted in his student days: although if Tarantino were to rewrite this, he would slice in some alarming flashbacks exposing fissures of personal history and bad faith. Some have declared themselves impatient or exasperated with the sheer non-narrative relentlessness of Free Fire. But that is part of the point and the joke, if not exactly the charm. As in their brilliant adaptation of JG Ballard?s High-Rise, Wheatley and his co-writer, Amy Jump, have unilaterally declared their own kind of independence from an expected mode of storytelling. Continue reading...
  • post Christopher Nolan and Sofia Coppola urge fans to watch films in cinemas, not on Netflix - 30 March
  • As studios reckon with the rise of streaming, the two directors ask audiences to watch their movies on the big screen, where they?re ?meant to be seen?Christopher Nolan and Sofia Coppola have urged audiences to see their films in the cinema at a time when the movie industry is reckoning with the growing popularity of video on demand and streaming platforms such as Netflix and Amazon.Presenting their forthcoming films at CinemaCon, the annual convention organised by the National Association of Theatre Owners, the directors said that they hoped fans opted to watch them at movie theatres, where they were ?meant to be seen?. Continue reading...
  • post Paramount looks to Disney model to recover after string of flops - 30 March
  • Hollywood studio to make more family movies and rebrand TV channel after duds such as Ben-Hur and Star Trek BeyondWith Star Trek Beyond failing to hit warp speed and Zoolander 2 and Ben-Hur bonafide box office bombs, Paramount racked up one of its biggest losses last year. The $455m (£365m) loss, the worst in the 12 years Paramount Pictures had been run by Brad Grey, prompted parent Viacom to make a change at the top and pledge to bring the studio behind Titanic, Braveheart and The Godfather back to its former glory.
    Continue reading...
  • post Fear Eats the Soul review ? love versus racism in Fassbinder's exquisite tale - 30 March
  • Cleaner Emmi loves immigrant Ali, 20 years her junior ? to the chagrin of 1970s Munich ? in Rainer Werner Fassbinder?s heart-rending and extremely prescient dramaRainer Werner Fassbinder?s 1974 movie Fear Eats the Soul is as quietly amazing as ever, nationally re-released as part of a retrospective at London?s BFI Southbank. It?s the gripping tale of courageous romance between Emmi, a white Polish-German woman, and Ali, a young Moroccan man: a simple, clear story and yet with its own sophisticated moral intelligence. The film takes place among the resentfully racist anständig middle classes of postwar Munich, all of them with fear-eaten souls. This is partly a homage to the 50s domestic dramas of Douglas Sirk, but given that Sirk was still alive and working when this was made, the perspective now is different. Quite unlike Todd Haynes?s Far from Heaven (2002), a masterpiece for different reasons, it is not a pastiche, and not something in which modernity is in ironic contradistinction to a past genre. Fear Eats the Soul is urgent and contemporary: it means something relevant in 1974, and in 2017. (If it comes to homage and pastiche, I?m only just coming to terms with the way Aki Kaurismäki?s bar-room scenes are a tribute to this film.) Continue reading...
  • post Cannes film festival accused of airbrushing star Claudia Cardinale - 29 March
  • Festival?s 70th anniversary poster features a young Cardinale, whose waist has been narrowed and thighs made slimmer The official poster for this year?s Cannes film festival has been criticised after Italian actor Claudia Cardinale appeared to have been airbrushed to make her look thinner.
    French media poured scorn on the festival for seemingly tampering with a photograph of Cardinale swirling her skirt on a Rome roof in 1959. Continue reading...
  • post Academy bans cellphones for PwC accountants after Oscars fiasco - 29 March
  • After the biggest flub in Oscars history saw La La Land wrongly named best picture, accounting firm in charge of balloting faces new backstage protocols PwC accountants will not be allowed to have their cellphones backstage during future Oscar telecasts.Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, sent an email to academy members Wednesday detailing the new protocols for announcing Oscar winners developed after the best-picture flub at last month?s Academy Awards. Continue reading...
  • post First trailer for Stephen King's It: the child-devouring clown is back - 29 March
  • The first look at a new adaptation of the horror classic suggests a nightmarish update with a hint of Stranger ThingsThe first trailer for the latest version of Stephen King?s It has landed, suggesting that yet another generation of children will be haunted by visions of an evil, sewer-dwelling clown.It?s the first of a proposed two-part adaptation of the 1986 novel that was originally turned into a mini-series in 1990, starring Tim Curry as Pennywise, a clown that kidnaps and eats children. Continue reading...

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