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Of all Christie’s detective novels, Murder on the Orient Express perhaps lends itself best to a blockbuster: it promises grand set-pieces, an opulent train cutting through rugged, snow-capped scenery, and a neatly contained roster of suspects ripe for starry casting.…
Though, to be cynical, it probably helps in getting a film made.
Anemone is Ronan Day-Lewis’s first film, co-written with his father Daniel Day-Lewis, who also stars — returning to the screen after eight years.…
It’s peaceful, almost banal. Then a phone rings, a jarring note in a chiaroscuro frame. Light flickers. Shadows thicken.…
Rupert Russell’s The Last Sacrifice starts inside that bucolic dream — and then slashes it open.
On Valentine’s Day, 1945, on Meon Hill, Warwickshire, elderly farm labourer Charles Walton was found murdered with his own tools; pinned to the earth with a pitchfork, his neck slashed by a billhook.…
It is about the pathological difficulty of taking collective action in a society of hyper-individualization and self-obsession.
The camera begins in an ordinary London house on an ordinary London street.…
Every frame glows with painterly attention: the flicker of candlelight on stitched flesh, a crimson-lacquered angel, a rider frozen mid-gallop in a snowbound tableau. It’s as if Del Toro has built an anatomical model of Frankenstein – every bone polished, every vein visible – but forgotten to breathe full life into it.…
That’s the strange power of Hamnet – its inevitability.
The film, directed by Chloé Zhao, adapted by her and Maggie O’Farrell’s from O’Farrell’s acclaimed novel, begins beneath the shadow of this foreknowledge: Shakespeare’s young son will die, and from that death will come the greatest tragedy in English literature.…
After the classic manor-house intrigue of the original Knives Out and the sunlit, self-refractive satire of its sequel, Glass Onion, we find ourselves in the isolated parish our Our Lady of Perpetual Fortitude, in Chimney Rock, upstate New York.…
Mickey 17, Bong Joon-ho’s latest, is a Frankenstein’s Monster of a movie, but one that fails to come to life.
Our titular iterative protagonist, hapless sad-sack Mickey (Robert Pattinson; endearing, like a naïfish Looney Tune), discovers that intergalactic travel isn’t all it’s cracked up to be, when he realises he’s signed up to be an Expendable.…
Robert Eggers’ remake of F.W Murnau’s prototypical horror classic is a gothic fever dream of carnal obsession and spiritual repulsion.
Winter, 1838: Estate agent Thomas Hutter (Nicholas Hoult; acquitting himself as the thwarted hero) departs Wisborg, Germany. His destination is the castle of Count Orlok (Bill Skarsgård; essaying another classic movie monster), his firm’s mysterious new client, in the Carpathian Mountains of Transylvania.…
