As expected the critics' main focus being on how racist and sexist The Hangover Part III is in comparison to its predecessors... But that begs the question: why do we as audiences keep going back for more of the same when we know what to expect? Are we the ones perpetuating racism and sexism on screen?
It's really quite sad if you think about it; not so long ago, Baz Luhrmann was the darling of Hollywood, a breath of fresh air in an increasingly formulaic industry. Audiences aren't so easily distracted these days by shiny colours and slick cinematography. More and more, they crave inner beauty over outer beauty. And perhaps it is that Baz Luhrmann hasn't quite realised this yet.
Brad Pitt could soon hold the ignominy of presiding over the biggest flop in film history. World War Z, which originally had a budget of $170million, but has now ballooned to a reported $400million. That is a huge $100million more than Pirates of The Caribbean: At World's End, which is currently the most expensive film ever made.
I was giving a lift to one of the greatest Bollywood legends of all time, Indian cinema's legendary heartthrob, the man we called our Gregory Peck. Dev Anand needed a lift to his hotel and I was the only one who could easily and quickly get my car our of the rammed, snow filled car park, (damn why hadn't I worn my nice sari?)
Due to the very open and unfiltered scenes of I'm so Excited, it might not get the box-office success of Volver or Broken Embraces. But I consider this film as a masterpiece. A film of many layers. A book of life. An act of solidarity. Highly recommended. Go, watch it and pick up some tips on how to enjoy life.
In short, those who enter into the glittering halls of Hollywood through Disney are destined to suffer a gruelling initiation into adulthood, through whichever duct of filth reveals itself first. Some of them get a taste for it, and are doomed to an existence of public arrests and nervous breakdowns (we're looking at you, Brit). For others, reincarnation is possible.
Our journey with WE WENT TO WAR started on a rainy afternoon in London in December 2007. In between developing project ideas with Michael, I was slowly making my way through his extraordinary five decade back catalogue as one Britain's great documentary filmmakers. Today it was 'I Was a Soldier' (1970), possibly the very first sustained treatment about soldiers coming home from the frontlines of Vietnam.
A critic for the Chicago Sun-Times for forty-six years, the Ebert era has bracketed the better half of film history. Unlike the fanatical doctrines of Pauline Kael, the humility of his observations broke through the cultural feudalism of cinema snobbery to land right aboard the brains and the breakfast tables of the American family. With syndication in more than 200 national newspapers, his voice of easy reason trickled from Chicago to Hollywood.
Although the film is a little untamed and features some baffling choices in terms of story, there is a lot within Trance to enjoy. Danny Boyle's stylish direction helps to smooth over the mistakes within the screenplay and results in a gripping, interesting and hypnotic crime movie that for the most part keeps the audience guessing.
Returning to his day job, Boyle re-enters the film arena with Trance, a London-based psychological thriller that rushes around with about as much calm and patience as an ADHD sufferer. He has said that he was finishing this project whilst he was working on the Olympic opening ceremony, and that this should be viewed as its 'dark, evil cousin'.
It was reported by The Telegraph recently that 'sex has been all but eradicated from Hollywood scripts over the past 18 months'. Apparently sex scenes are being shunned in favour of dazzling special effects and tellingly, only two films containing sex and nudity made the box office top ten in the UK last year. So what is the reason for Hollywood's languishing libido?