Peele’s sudden and swift success with Get Out (2017) left many wondering if the sketch comedian turned director really could be the horror pantheon’s saviour. After a lean half century brimming with blood, gore and gratuitous torture porn, the genre emerged into something of a renaissance. Following the release of Get Out came a swath of imaginative and intelligent thrillers like Raw (2016), The Babadook (2014) and It Follows (2014) and the horror genre began to establish itself as the go-to vehicle for social commentary.
By far the most commercially successful iteration was Get Out, which grossed just over $250 million worldwide. But after such overwhelming success, could Peele really do it again with Us? Well, the answer is yes. Just as Get Out was a chilling survival horror that had oh-so-relevant things to say about the African-American experience, Us is a chilling survival horror that equally has a significant amount to say about duality, privilege and the swelling vein of apathy running through the heart of America. Continue reading
There has been an influx of movies about legendary singers and bands in recent times. From the Oscar-winning Bohemian Rhapsody to the soon-to-be-released Elton John biopic, Rocketman, audiences have been screaming out for their eyes and ears to be satisfied at the same time. It seems only fitting, then, for one of the biggest rock bands of the 80s to also get their own flick.
The Dirt follows the legendary group Motley Crue, as we chart their rise from messing about in their apartment to playing to thousands of people all over the world. It’s a tale of debauchery, hedonism, and downright dirtiness – but at least it lives up to its name. Continue reading
When the Alternative Oscars were set up three years ago, it was as a two-fingered salute to the Academy Awards. You see, I was fed up with the Oscars only honouring films that were technically brilliant, but weren’t overly popular with cinema-going audiences.
I never expected for my little awards to become successful, but it appears many of you reading this agreed with my stance towards the Academy. In its first year, I was pleased with just over 300 people taking part and last year I was ecstatic for just under 1,000 individuals to share their thoughts.
This year, with the help of a small advertising budget and an increased word of mouth, the Alternative Oscars received bang on 1,600 votes! To say I’m thrilled is an understatement. So, without further ado, let’s crown this year’s winners. Continue reading
I must start this out with a confession: I am someone who is prone to hyperbole. It will worm its way into my everyday interactions. In fact, one might say that I am liberal with my hyperbolicity— non-literal exaggerations can be found in the way I discuss, describe, act, and recount; in the way I exist.
However, when it comes to hyperbole, there is no place I use it more than in my descriptions of films. “It’s the most fun ever”, I might say about a movie that’s pretty fun, but the most ever? Probably not. However, in 2018 there was one film that was the receiving end of more hyperbole than any other: Bohemian Rhapsody.
This hyperbole was exclusively negative. Some descriptions I threw around included “the worst”, “actual trash”, “fully awful”, and “scum on the bottom of my shoes”. In an informal year in review I even went so far as to express my wish to strike it from history, calling it “cultural cancer masquerading as a film”. I’ll admit that the last one is probably one step too far, cancer is no laughing matter.
Then again, neither is Bohemian Rhapsody.
Netflix movies have been gradually moving up the movie food chain. From the outrage that surrounded Beast of No Nation‘s Oscar snub, to recent awards darling, Roma, scooping up the majority of the awards and nominations at most shows, it’s easy to see that Netflix isn’t a foe to be ignored. Their latest release, High Flying Bird, directed by Steven Soderbergh of Erin Brockovich fame, and written by Tarell Alvin McCraney (Moonlight), it isn’t hard to expect quite a lot from this movie.
It follows Ray, a sports agent, as he navigates an NBA lockout with his rookie client, Erick. With a star-studded cast and a team that is, arguably, overqualified to orchestrate such a simple plot, Netflix looks as though they’re onto a winner. Continue reading