'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.
I have become alarmed by the sexist attitude towards Orlando. I have seen whole newspaper articles dedicated to Orlando's willy. There are wars going on; people being killed, but we all need to know if Orlando's willy is an aubergine or a chipolata - apparently he is an aubergine. The world has gone mad for Orlando's aubergine and that is sexist.
For a child to find their way into education and into learning the basics through play excites me - the idea that education is fun. So a great environment is one that you walk into and respond to based on what you are seeing around you - the colours, the drawings, the way in which children are inspired to do things. When I walk into my son's classroom, for example, it's a hive of creativity, play and fun - as if they are almost of tricking him into learning. He doesn't even know that he is learning when he is. They are very clever about that. That's an environment I find exciting and wish there was more of.
Can you think back to the first piece of music your remember hearing in a film? Was it in a musical, or a character singing a song, a pop song used in a particular scene or were you simply transfixed by the emotion conveyed in a piece of scored music?
Morality and mortality have never seemed so aggressively real. First hour aside, this European hit has few rivals, technically or aesthetically. What else: it's a classic in the making, even if it is reserved for a cathartic thriller.
Forget Disney, forget Phil Collins and forget coherency. Yates's take will leave hearts swooning for the leading couple, but if it's not a catwalk you're after, or melodrama, then you might as well pretend this film never existed. This is for teenage girls who can handle a little angst.
I can't personally fault Linklater et al. Everybody Wants Some!! made me nostalgic, and others will feel the same. It rides on the Boyhood realist wave to great effect too. But if you don't want to reminisce... what's the point? To think this is a standalone film is the failure. If it was part of a bigger picture, a trilogy maybe, you could see loads of promise.
I like the nod the film gives to Cool Runnings. Of course, this film has a lot to owe that and is in many ways the spiritual sequel. But you've got to commit to the good vibes otherwise you're going to want to faceplant the floor.
New director brings Nova, the controversial magazine of the 60's to the cinema. Credit Film Still © Kes Glozier & Nate Camponi Kez Glozier. ...
As a huge Ghostbusters fan, I really felt this version did the original justice. Packed with action, bucket loads of comedy and gallons of slime it really gives old and new fans alike a rollercoaster ride from start to finish and with a strong storyline riddled with cameos from the original cast, it feels as though it has everyone's approval.
Here's where the power of film comes in. For an idea to really take hold and change to happen, it's not enough for the head of a company to meet new environmental requirements. It's not enough for an individual to start recycling or buying food from a sustainable source. We need everyone.
The referendum invited each of us to define our identity as either predominantly European or British: are we In, or are we Out. Short and simple, with no room for subtleties.
Of course, the United Kingdom is not Elsa, the queen in Disney's Frozen. However several similarities can be drawn between the United Kingdom's choice over leaving the European Union and Elsa's flight from the kingdom of Arendelle.
People often say to me 'I am living!' Yes, we are all breathing, waking up in the morning and going to work and doing our best to get by. Yet, I wonder how many of us are merely existing. There is a vast difference between the two. Whilst this is something I have often pondered on (especially since the sudden passing of my mother), this film really brought it home to me.
Gianfranco Rosi's camera lays witness to this European refugee crisis through two locals, 12-year-old Samuele who loves to hunt, shoot his slingshot and mess around and Dr. Pietro Bartolo, still compassionate and caring after treating refugees for 25 years.
The film is a fly on the wall documentary of three ordinary young gay men who live in the extra-ordinary world that is the bifurcated society of Tel-Aviv.