What feels like ages ago, in a time when CGI was still both oppressively expensive and still absolutely horrible to look at, audiences enjoyed watching Brendan Fraser save the day from haphazardly awakened mummies (and The Rock before his acting career became less terrible, before it promptly became terrible again thanks to Baywatch). Those were simpler times, when movies about supernatural creatures could be a mixture of silly and serious, charming and cheesy. The Mummy films were perfect for what they were, and as they ambled off into the sunset, presumably to a place where all of the talent involved could find additional work, there was a sense of completion. In the same way the arc of the covenant should never be opened, so too should Hollywood never have decided to make another movie in The Mummy series.
Warning: this episode’s not for the squeamish. You’ve been warned. Also: a backstory-centric episode already? Forgivable in this case- if only because ‘Git Gone’ is loaded with character development.
It’s a busy episode, with multiple story threads. Chris Obi starts the episode as a caring, yet somewhat creepy Anubis, before the show returns to Shadow’s narrative.
Given that it’s June and July is just around the corner, it’s time to talk about something timely: Christmas. Yes, Christmas. It’s a holiday steeped in cinematic tradition, with such offerings as Rudolph the Red-Nosed Reindeer, The Year Without a Santa Claus, The Santa Clause, Bad Santa, and, of course, How the Grinch Stole Christmas. It’s fair to say The Grinch and his oddly charming green, furry face have been a staple of Christmas for many audiences. Even when Jim Carey put on so much make-up to play the role he required training to cope with PTSD.
OMG: American Gods examines each episode in a way similar to Starz’ marketing of the series – in a minimalist style.
Have you had a sift through Netflix recently and been uninspired? Let us point you in the right direction. Our May Netflix picks includes everything from Westerns to documentaries via romance and surrealism…
The latest trailer for Christopher Nolan’s Dunkirk has reinvigorated many film fans’ enthusiasm for the Inception director’s latest project. Indeed the trailer, whilst baring all the hallmarks of the majority of trailers since, in fact, Inception’s, is nonetheless a great sample of what to expect on the 21st July.
A strained, husky voice speaks over darkness, then murky images of firelight and a woman’s face swim into vision. This dramatic opening scene of Wander sets the tone for what proves to be a deeply affecting short film created by Lowkey Films.
Guardians of the Galaxy Vol 2 is a welcome return to form by Marvel. After the geographic implausibility and sheer pretentiousness of some of last year’s fare, Marvel has returned to doing what it does best. Telling a story that for all its sheer wackiness is guided along by a simple theme; namely that family is more important than anything else.