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


Review: The Secret Life of Walter Mitty

One of the very fortunate aspects of the film form, aside from affective story-telling techniques, is the value of its aesthetic beauty. From A Good Year set in the Italian vineyards in 2006, to Leap Year set in the gorgeous greenery of Ireland in 2010, to this years ominous neon death-ground Only God Forgives, the location of a film becomes as much a character as the characters in the film themselves. Sadly, as infamous photographer Sean O’Connell (Sean Penn) so eloquently puts it, “beautiful things don’t ask for attention”, and Ben Stiller‘s newest directorial entry is a film that begs for a lot of attention and recognition while still looking good. Continue reading