The Best and Worst of 2017…Thus Far

Welcome to 2017!

This year promises to be a very fulfilling year for cinema, especially given that 2016 was such a monumental year for the medium, I mean, just look at what happened at The Academy Awards earlier this year? Two Best Picture winners? While I truly believed that Moonlight championed its rival in 2016, both Moonlight and La La Land will always be, famously and unanimously associated with one another.

Luckily for us, no matter how many years pass, cinema always seems to be evolving, for better, or for worse, depending how you see it [depending on how much of an optimist or pessimist you are]. Whether it be the forum of the medium, the medium itself, its format or just the way stories are told and presented, cinema is a child constantly growing up.  Continue reading

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Film Review: Alone In Berlin

Running for his life, a young soldier Hans Quangel (Louis Hofmann) finds himself jolting in a bleak and otherwise bare forest somewhere in the battlefields of World War II. Scared, alone and out of breath, the young German soldier seems lost and directionless. As his breaths sharpen and his fear settle, the young soldier spends most of his run with his head looking back; whether it be an enemy, the war itself, or a version of himself he is fearful of becoming, the young Quangel maneuvers himself between the tall and dark trees, the mysteriousness of the forest and the impending and looming death that looks for many young men in the battlefields of war. Before anyone can make any sense of it, we hear a gunshot, fatally wounding the young soldier and forcing him to the ground. As his bright blue eyes begin to turn to grey, life fleeting him quickly and the forest embodying his body, Alone In Berlin begins with what seem like an insignificant death to many, but an impactful one for few.  Continue reading

Review: Rush (2013)

Loud, proud, and relentless in its portrayal of sport rivals, Ron Howard’s Rush is another entry into his formulaic and conventional directing resume. Like any well oiled machine, Howard is an expert of giving audiences a fundamentally linear narrative with striking and beautiful aesthetic choices, even if the narrative follows the  rivalry between two Formula One drivers whose careers and competition is anything but straight-cut. Continue reading