Words: Patrick Kolan | @PatchKolan I went into Mute not knowing a whole lot about it. It was so low-key a release that it flew under the radar of the target audience (that is, me). Then I was told that the critical response was resoundingly negative—running to about 15% positive on that aggregate marketing doom-beast [...]
WORDS: Patrick Kolan Let me tell you about The Dark Tower. In terms of cinematic tumult, the adaptation of dark-fiction sensei Stephen King’s offbeat horror-cum-western-cum-fantasy has weathered a lot. In the past twenty years, it’s changed directors and producers over and over, swerving back and forth from television to film, to a trilogy, back to [...]
It delights me to report that Baby Driver is a monumental fucking triumph. This is the best action movie of 2017 and the best thing Wright has done to date.
WORDS: Patrick Kolan | @patchkolan There are a few ways I want to approach this, so let’s get the obvious stuff out of the way. Alien: Covenant is a very pretty, very watchable disappointment in all the same ways as Prometheus before it. Nothing in the intervening years demonstrates to me that Ridley Scott has learned about [...]
When Ghost in the Shell debuted in manga form in 1989, we were living in a pre-Internet age – a time of William Gibson cyber-punk fiction, the personal computer held infinite potential and the year 1999 still felt like the far-flung, robot-filled future. It was a pre-The Matrix time. It was a more innocent technological age.
You remember that kid in school, or maybe at work, who always thought he was smarter than everybody else – when in fact he was a grade-A dumb-shit with a big mouth and lot of swagger? That’s A Cure For Wellness – easily a contender for the worst film of the year – and it's only March.
If there wasn’t another superhero movie after Logan - if Logan was the swansong for not just Marvel’s fan-favourite Cannuck but for all superheroes on celluloid, I’d be absolutely fine with this. I think, with Logan, we’ve now seen the upper limits of what comics-on-film can achieve.
LA LA Land joins the ranks of other great, hard-working musicals that sit on the periphery of the cinema landscape, pulling big numbers and high praise in a refreshing reminder that superheroes aren’t the only people jumping around in spandex on screens these days.
I appreciate Doctor Strange—it tries really hard to hit all the right notes; it works to make you smile. Scott Derrickson had a tough gig with this one, I suspect—trying to sell audiences on the philosophy and magic of Marvel’s laconic wizard in a post-Avengers, post-Guardians of the Galaxy world.
*Author's note: As always, I have avoided spoilers – so there will be little discussion of the story itself. * Wes Anderson’s work has a tendency to rub some people the wrong way. I will never understand them. They must see the world weirdly, in a different hue, to a different score. So does Wes, [...]