Shot on 35 mm film in arduous conditions – much of the film was shot in real snow – this Japanese remake of the Clint Eastwood classic presents the story as a bleak reminder of the price of violence, minimizing the more redemptive aspects of the original. The film has received the Eastwood seal of approval.
Ultra-cool hitman Charlie (Marvin) goes looking for answers – and one million dollars in heist money – after killing ex-racing driver Johnny North (Cassavetes). Charlie and his hairspray obsessed associate Lee (Gulager) track down Johnny's associates one by one and uncover – in flashbacks – a complex web of crime and deceit
Machete travels to San Antonio to meet his handler, beauty pageant queen Blanca (Heard) and is soon across the border again. But there’s a face-changing hitperson on his trail (played by several well-known actors) and in the background an eccentric billionaire arms dealer (Gibson) who sees the future of humanity as an off-planet affair and is prepared to destroy Earth to make it happen.
Early images confirmed Kinnaman looked more man in a black body armour than cyborg. Despite Samuel L. Jackson's (Pat Novak) ranting cameos in various promos, it was also clear that the black humour and brutal dissection of American society was to be thrown out in favour of a more straight-down-the-line interpretation (less gore, more dumb action).
This celebrated precursor of the French New Wave is best seen as an ‘anti-noir’ thriller, with an ironic perspective on the protagonists’ escapades and some sincere exploration of social issues replacing the moody tension you might expect from a film noir. It’s not quite ‘effortlessly cool’ – despite the improvised Miles Davis score as well as iconic shots of Jeanne Moreau – but it’s well worth a watch.
The Bridge is really about the relationship between the two lead characters: Saga Norén (Helin), the Swedish detective and Martin Rohde (Bodnia), her Danish counterpart. Brought together again to investigate the ramming of a boat into the Øresand Bridge which links the two countries, the interplay of this odd couple is a joy to watch.
Forget American Hustle (let’s face it, nice tops on the ladies, J-Law was funny but the rest was nothing special), this is possibly the best US film of the year so far: an ensemble epic of violence that’s like an updated Once Upon A Time in America done in the style of a Robert Altman film; albeit with neck, knee, leg and elbow breaking instead of fancy-pants long takes.
What is the secret of Scott Cooper’s seemingly effortless ability to produce surprisingly engaging stories of the human condition with minimal plotlines and relatively modest budgets? Brilliant casting is one but there must be much more than that to this budding auteur whose latest film, Out of the Furnace, is only his second.
There are many good things about this gloriously cynical black comedy, which is based on the memoirs of crooked Wall Street broker Jordan Belfort. During the 1980s and 90s Jordan lived the high life, indulging his taste for sports cars, drugs and hookers, all funded by the glitzy company he created to sell fraudulently inflated stocks.
In 1963, the theft of 2.6 million pounds from a Royal Mail train was dubbed as the crime of the century; this would come to pass as one of Britain’s most notorious ventures in villainy. This two disc mini- series tells the story from two contrasting points of view, criminal and crime stopper. Both sides aim to set the record straight in unfolding the events surrounding The Great Train Robbery.