Two films, two usually silent main characters, two British-born actresses as love interests, and two super awesome jackets. Both Drive and Baby Driver are among my favorite films of all time, with their immense style, amazing direction, top-notch editing, and truly thrilling action.
However, the debate rages on about which of the two films is better, the 2011 Ryan Gosling vehicle or the 2017 Ansel Elgort film. Now, while I do have a preference, I decided to see examine them in five key categories to see what was truly the best. Those five categories are storytelling, acting, characters, visuals, and overall enjoyability. All there is left to do is compare the two, and now it’s time for our first ever Celluloid Clash. Continue reading
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
After Stan & Ollie finished, all I could think of was Bohemian Rhapsody. This was not unusual for me at the time. Bryan Singer’s travesty that we were politely referring to as a “movie” had really wormed its way into my psyche. Not just because it was so bad— and it was so unbelievably bad— but also because everyone seemed to like it. When I asked anyone why their answer was “it’s about Queen, why wouldn’t I like it?”
This shouldn’t surprise me, of course, people love biopics. There’s something exciting about seeing people who were real brought to life on screen. The issue is that biopics are often awful. There exists, I think, a desire to capture every part of a person’s life. Continue reading
Everybody knows the story of Bonnie and Clyde. They’re the star-crossed lovers who robbed, shot, and raced their way across the south of the USA. Many a movie has documented their romance, making them appear as some kind of 20th century Robin Hoods. However, what isn’t as often explored, is the story behind the fellas who brought them down. That’s where Netflix’s newest release, The Highwaymen, comes in.
The movie follows Hamer (Kevin Costner) and Gault (Woody Harrelson), a pair of Texas Rangers who come out of retirement to help bring down Bonnie and Clyde. It’s a tale of murder, mystery, and quite a lot of driving. Continue reading
Ah, the DCEU, probably one of the most inconsistent franchises there is. They started off with the so-so Man of Steel, then the incredibly dull Batman V. Superman, then one of my least favorite films ever Suicide Squad, the overall decent Wonder Woman, the mediocre Justice League, and my personal favorite, Aquaman. Now they come to us with Shazam, which had a fantastic trailer.
They made a trailer which looked like it was bringing wonder back to the superhero genre. I was super excited, and when I learned of advance screenings, I bought my tickets immediately. When I actually saw it, I sat there for two hours and twelve minutes, and when it ended, I was thoroughly feeling like I was brought back… to a superhero movie from 2013, but I’ll get into that. Let’s just get into the movie as a whole. Continue reading