The Hitman has a long lineage in Hollywood. But whereas Hollywood often likes to gussy up the Hitman to make him more “empathetic”, Michael Shannon’s performance as a real-life Hitman known as The Iceman purposely and brilliantly plays against this idea.
Articles By: Nick Prigge
Well, what we did think was going to happen by giving the keys to The Great American Novel to Baz Luhrmann, holder of a masters in Cinematic Spectacle & Kitsch? He takes the material and guns the engine like Jay Gatsby himself at the wheel of his beloved yellow 1929 Duesenberg.
Iowa cornfields can have so many connotations on the movie screen. And in Ramin Bahrani’s latest film, At Any Price, they symbolize the the crushing responsibility of family legacy.
Occasionally a hyperbolic declaration contains no hyperbole. This is one of those occasions. With Mud and its precursor Take Shelter, writer/director Jeff Nichols has displayed a command of the craft second to none. His future appears immense.
The American Dream, a term that has become terribly diluted down through the years, still is generally thought to contain some sort of element of “hard work” but, really, what good is “hard work” when a mere glance around offers the tantalizing possibility of oh so many shortcuts?
The Numbers Station chooses to be a straight thriller, which is perfectly fine, of course, so long as you are able to render the proceedings, you know, thrilling. This relies on technique and storytelling, otherwise it’s akin to watching the DJ at the club press the buttons and pull the levers without actually hearing the music.
In the wake of Reese Witherspoon’s legal fracas over the weekend, Nick would like to offer America’s one-time official Sweetheart a bit of sympathy and a dose of advice going forward.
The breathless first minutes of Terrence Malick’s To the Wonder mix swooping images of astonishing beauty with whispered voiceovers that tell us everything and nothing. The remainder of the film is a purposely frustrating attempt to rekindle what we felt and what the characters felt in those first fifteen minutes.
With Place Beyond The Pines, the follow-up to his extremely intimate Blue Valentine, director Derek Cianfrance has subscribed to cinema’s time-honored rule – that is, broaden your scope, paint on a mountainous canvas, exceed your grasp.