Dunkirk (2017) Review

WE SHALL NEVER SURRENDER.

A CINEMATIC ACHIEVEMENT.


 

Director Christopher Nolan is an acclaimed film director that many, including myself, have found to be exceptional in the execution of the films that he directs. While he’s been around for quite some time, developing several short films (both released unreleased), several first noticed Nolan’s work as a director in his sophomore film Memento. Released in 2000, Nolan’s Memento was a complex film of dueling narratives story threads, which meet at the end of the film, producing one whole and cohesive narrative storyline. Even if you didn’t have Memento on your “movie radar”, many (and I do mean many) recognized Nolan’s directorial work after successful taking the DC superhero “cape crusader” (i.e. Batman) and created the celebrated Dark Knight trilogy (Batman Begins, The Dark Knight, and The Dark Knight Rises). From there, Nolan went on becoming a much-respected director from critics and the public of moviegoers, with his other films like The Prestige, Inception and Interstellar. Nolan’s approach to crafting a feature film is what makes him truly stand out, rooting his pictures with sociological, ethical, and philosophical concepts / ideas, the explanation and constructs of time, and the nature of personal identity and memory. Additionally, Nolan, who usually also writes the screenplay for most of his movies, also weaves very complex narratives, with some nonlinear storytelling and a tendency to emphasis characters (and their cinematic journey) rather than making the feature’s primary focus on its visual effects and other nuances. Now, director Christopher Nolan (and Warner Bros. Pictures) his newest film Dunkirk. Does Nolan masterful translate well into this WWII period piece or does something get lost within its historical backdrop? Read more

It Comes at Night (2017) Review

A MISLABLED AND POSSIBLY

FRUSTRATING SUSPENSE HORROR


 

While Hollywood Studios such as Warner. Bros, Disney, 20th Century Fox, and Universal, usually churn out big-budgeted and / or big named feature films every year, A24, a smaller film production company, has been flying underneath the radar for several years, producing some hidden films. Originally named A24 (before becoming just A24), the studio has created several low-budgeted, yet successful movies such as the sci-fi film Ex Machina, the Oscar-award winning drama The Room, the oddly humorous Swiss Army Man, and critically acclaimed documentary Amy. Now, A24 and director Trey Edward Shults, present their newest film; a horror suspense thriller titled It Comes at Night. Does this movie deliver on its thrills and expected premise or does it flounder and fade into the background of recent horror movies of late? Read more

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