Man. I guess people were so depressed in the seventies they’d try just about anything. As we live through a fast-forward remix of the Watergate scandal, it’s interesting to take a look back at those strange, hungover times. The Commune is a Danish film set in the seventies, so a rather different milieu than Nixon’s America. But societal malaise was pervasive in Western culture at that time. From the talented but uneven director Thomas Vinterberg (The Celebration, The Hunt), The Commune is a loosely autobiographical film of his own experiences growing up in that era. It’s a spare tale of a marriage pushed too far, veering into melodrama.
Ed Gass-Donnelly’s got style and atmosphere to burn, that’s for sure. In the opening moments of his new elegiac horror-thriller Lavender, we track into a frozen tableau of police investigating a grim crime scene in a rustic farmhouse. The cops hover like statues over sheet-draped bodies as the camera glides between them, coming to rest on a petrified girl slumped against a bedroom wall, clutching a bloody razor. As she stares blankly into us, we wonder, is this girl a killer? Why would she do such terrible things?
High winds took a bite out of the weekend, Hurricane Matthew knocking nearly 10% off the weekend’s box office totals, compared to last year. But The Girl on the Train was the engine that could, topping the weekend grosses handily.
Why do so many aliens want to kill us? Okay, maybe humanity leaves a lot to be desired. There’s war, murder, avarice aplenty, and people that want to elect Donald Trump. If we haven’t broken the planet we live on, we’ve sure as hell damaged the packaging. Our celebrated social networks leave us staring at our phones, hardly noticing the actual world in front of us.
But we don’t completely suck. There’s art and inventions and love… still, fucking Donald Trump? Maybe the aliens have a point. Don’t get me wrong. I love me a Starship Troopers or a Predator or an Alien, when that unknowable other is just a vicious killing machine here to reduce us to emphatic survival. But it’s not often that we see aliens as screwed up as we are. Which is one of the many things that makes Neil Blomkamp’s District 9 so great. The aliens and their massive ship hovering over a metropolis aren’t here to destroy us with monument-shattering death rays. Their spacecraft broke down, they’re sick and dying, and whatever their interstellar traveling, they’re completely S-O-L. The film’s a brilliant exploration of a refugee civilization landing on our doorstep, and the amazing awfulness humans bring to bear in dealing with the problem.
When you’re young, very young, the world is bright and bold, a riot of colour and creatures and moments tumbling one to the next. Boy and the World, a newly released animated feature from Brazilian director Alê Abreu, captures that vibrant fleeting spirit magnificently. From its opening moments, the film is a superb experiment in marrying image and soundtrack, a lovely kaleidoscopic zooming outward as a jaunty flute melody builds. We’re plunged into the world of Boy, our nameless protagonist playing in the pastoral rainbow-scape of rural Brazil. His journey from there to the big city brims with revelatory moments, dragging in its wake a stinging indictment of global capitalism.
Harrison Ford Made 50 Times the Salary His Star Wars: The Force Awakens Costars Got—It Should Have Been More
A few weeks back, a story was doing the rounds about Harrison Ford’s mammoth payout for Star Wars: The Force Awakens. The UK’s Daily Mail posted that Ford had been paid $23 million pounds for his appearance in the juggernaut sequel. That works out to about $33 million US. Variety walked that number back a little two days later, to somewhere between $10 and $20 million. At the other end of the spectrum, John Boyega and Daisy Ridley were paid in the range of $100,000 to $300,000 for their roles in the film. Ouch. Before young thesps the world over cry out in outrage, is the discrepancy totally unfair? Hell no. Time for some fun with numbers, the Millennium Falcon edition.
Playing Bloodborne is like smashing your head against a wall, a very gory, slimy wall, again and again and again and again. It’s hard. You cry out like a Canadian curler on the ice screaming to the heavens, “HARRRRRRRRRRD.” Fighting a Bloodborne boss is your own private Edge of Tomorrow, Tom Cruise learning by dying over and over, you as Tom in a blood-slicked waistcoat, axe in hand, repeatedly crushed and beaten and mauled. But sooner or later, mostly later, the patterns click, strategies emerge, and at last you vanquish the horrific beast before you, gouts of blood splaying through the air. When it happens, the feeling is pure ELATION. The sheer dopamine rush of joy when you pound that fucker out of existence is immense, a wave of happiness bigger than Kanye’s ego suffusing your entire being. And then it’s onto the next and the gruelling hunt begins anew. Exclusive to the PS4, Bloodborne is one of the best games of the year. But for the horror-loving gamer on your Christmas list, is it all masochism?
It’s almost a myth. Two brothers, separated and raised in different nations. Similar, and yet different. And only one can be king. Okay okay, pretty melodramatic. But that’s the story of two monster games clamouring for Santa’s favour this holiday season. The Xbox One-exclusive Halo 5: Guardians from 343 Industries carries the torch for the legendary Halo franchise, while Bungie’s brought its heavy-weight space-faring shooter Destiny: The Taken King to both the Xbox and PlayStation sides of the fence. Which of these triple A franchises comes out on top? Pull the trigger and we’ll take a look.