Predestination is a slick, hermetically-sealed sci-fi treat

 

Is there any genre with more potential for ideas than sci-fi?

Not restricted to the realms of the realistic or the possible, yet generally ruled by the same forces that make our world tick, science fiction is a way of deconstructing the human experience, of really getting to the heart of our identity, who we are, where we’re going. …

Kumiko, the Treasure Hunter is on a quest for oblivion

 

As cinematic provenances go, Kumiko, the Treasure Hunter has a fairly tortured one.

A “true story” based on an urban legend based on events that took place in Minnesota in 2001, the film follows the misguided adventurers of the eponymous Kumiko (Babel’s Rinko Kikuchi), an office drone in Tokyo who becomes obsessed with finding the treasure buried at the end of Fargo.…

Jupiter Ascending aims for the stars and ends up burying itself

 

Arthur C. Clarke famously wrote that “Any sufficiently advanced technology is indistinguishable from magic”.

By the same token, any sufficiently misconceived work of science fiction is apparently indistinguishable from utter bollocks. Case in point: the Wachowski’s latest bloated epic, Jupiter Ascending; a film that substitutes the interconnectedness of the flawed but ambitious Cloud Atlas for a story with just as much scope and infinitely less point.…

Son Of A Gun is a movie under the influences

 

Julius Avery’s Son Of A Gun may fall into the broad category of “crime thriller” but it’s not a neat fit: Julius Avery’s first feature evokes genre pieces as diverse as Starred Up, Lock, Stock & Two Smoking Barrels, and Drive.

Kingsman: The Secret Service goes to top of the (working) class

 

Remember when spy movies were silly and fun?

Long before Daniel Craig’s brooding, psychologically complex 007, Sean Connery “yellowed up” to take on a scar-faced megalomaniacal villain in his hidden volcano base, George Lazenby went undercover at an alpine base filled with a bevy of (non-allergenic) beauties, Roger Moore headed into space to battle a metal-mouthed giant (alongside the unlikely named Holly Goodhead), and Timothy Dalton, well, he mostly brooded too.…

Selma passionately documents the coming of a change

 

Why was Selma largely overlooked by The Academy?

Given its pedigree, it should, by most standards, have been a lock. What then? Could it be backlash from last year’s choice of Best Picture – have voters grown tired of slavery and segregation?…

Inherent Vice is stoner noir par excellence

 

From aspiring porn stars in the sun-drenched ‘70s to megalomaniacal, turn-of-the-century oil barons, Paul Thomas Anderson is one of the most uniquely identifiable directors currently working in cinema.

His projects range enormously in topic and scope; all that connects his work is a handful of recurring themes and a certain visual acuity that marks him as a director.…

Get lost in the grounded transcendentalism of Wild

 

A life-affirming tale of finding yourself amidst nature, based on a best-selling memoir, Wild follows Cheryl Strayed, an aspiring writer whose life falls apart upon the death of her mother.

Having sought refuge in sex and drugs, Cheryl decides to repair her life by walking the 1,200 miles of the Pacific Crest Trail, from the US-Mexican border, through California, Oregon, and Washington, all the way up to Canada.…

Whiplash might be my film of the decade

 

A tense, astonishing drama about precision, obsession, and determination, Whiplash seizes you from its opening moment – a snare drum, like a quickening heartbeat, over black – to the final crash of cymbals.

Miles Teller stars as Andrew Neyman, an awkward drumming prodigy who finds himself thrown in at the deep end when he’s invited to join a band led by conductor Miles Fletcher.…

Foxcatcher is a frigid masterpiece about the pursuit of championship

 

Of all the things to confront in life, failure is perhaps the hardest.

How it reflects on us, and we on it, and our desperation to avoid it are universal facts of human existence. Foxcatcher is the second title to feature at this year’s London Film Festival that can be aptly summarized as a “psychotic coach drama” – the first being Whiplash; though the two films are in many ways polar opposites.…