By rewriting the Hollywood musical, Chazelle has given us an alternative ending - one that does justice to the female character, and feels a lot less like 'La La Land' and a lot more like real life. Not sewn into a leather catsuit. Not half-naked. Not airbrushed. It's a 2016 musical that 1950s leading ladies would be proud of.
When I first saw the trailer to A United Kingdom, I felt a prickle on my skin, a gust of affiliation to this story promising to tell the triumph of an interracial relationship. I was bewitched by this film that showed a black man and a white woman in love, something of a given for me growing up in a mixed-race household...
Funny? Sure. Dramatic? Nope. War Dogs was brought off the boil too early. It's a film of two halves, and that's never entertaining. Hangover instigator Phillips gives it a shot, but ultimately this is The Big Short with big guns smacked with a little Lord of War egoism for kicks. On the plus side, I like that Philips is investing comedy in this way. Imagine if more comedies were this unique?
The sheboot caused uproar before it was even released as the trailer became the most disliked video in YouTube's history. Why? Because the leads were women - underlying sexism strikes again! In light of this, I'm going to try something: I'm going to actually give the film a chance and review it like normal human being.
There was so much potential here. The central narrative - finding Dory's parents - was unavoidable. Any scriptwriter, nay, your neighbour or cat would have known this was the right step to take. The filler, however, disinterests me. Marlin and Nemo's subplots are bafflingly simple with no sense of wit or fun.
'Cosmos,' Andrzei Zulawski's first film in 15 years, adapted from Witold Grombowicz's 1965 novel of the same name defies classification but offers an intriguing, bizarre, wonderfully absurd, hilarious, surreal, reference littered and visually gorgeous cinematic feast wrapped in Andrzej Korznski's romantic score - a crazy expressionist cinematic delight.
No matter how crazy the outside world might seem to be, the sanctity of the cinema always provides a refuge. It has been much needed this past month and I expect it will continue to be for the foreseeable future. It helps that the content on screen has been strong this year too, and what initially seemed like a tricky year admissions wise, has so far offered pleasant surprises at regular intervals.
Forget the cinema days of dusty fold-away red chairs, flat pepsi, stale popcorn and stained carpets, for there are some far more exciting cinema experiences to be had that are a world away from your local Odeon. No longer does the experience start and end from the trailers to the credits, but from the moment you first walk through the venue doors.
We urgently need documentary films about events that took place in the 1940s, 50s and 60s globally and locally, now because of the threat to living memory. Soon we will only be able to document new information from the sons and daughters of the era. And if I can't even recall my actions or find my notebook from three years ago, what hope do we have on a national or international scale of remembering the past?