3 items from 2017
Blending the intimate volatility of John Cassavetes with the elegant lyricism of Hou Hsiao-hsien, Russell Harbaugh crafts an alternately ugly and lovely — and altogether authentic — snapshot of the tumultuous process of grieving a lost loved one. Bolstered by superb lead turns from Chris O’Dowd and Andie MacDowell, as well as a formal structure that enhances the roiling emotions propelling its characters into a downward spiral, “Love After Love” is an assured debut feature that announces its writer-director as a formidable new American indie voice. In the wake of its Tribeca Film Festival premiere, it seems primed to attract enthusiastic theatrical — and award season — attention.
The narrative starts before the film’s calamity, with Suzanne (MacDowell) and son Nicholas (O’Dowd) pondering the nature of true happiness, and how long it might last. The answer to the latter question is not very long at all, given that Suzanne’s husband, »
- Nick Schager
For many years, director Ben Wheatley has been one of Britain’s top genre exports from his early supernatural crime-thriller Kill List to the dark comedy Sightseers and the trippy war movie, A Field in England. Last year, he even took on the difficult task of adapting J.B. Ballard’s High-Rise, starring Tom Hiddleston, a crazy movie that also paid homage to another great British filmmaker, Stanley Kubrick. (All of these movies were either written, co-written and/or edited by Wheatley’s long-time silent partner, Amy Jump.)
Wheatley’s new movie Free Fire features an amazing ensemble cast that includes Brie Larson, Armie Hammer, Cillian Murphy, Sharlto Copley, Michael Smiley and more, as it sets up a gun deal that goes wrong and turns into a violent shoot out inside an abandoned warehouse.
The movie shows the amazing skills of Wheatley and Jump with terrific dialogue and some of the most insane action scenes, »
- Edward Douglas
Let’s be honest, if you’ve seen Free Fire, you’ll know it’s not particularly like a lot of the 1970’s crime films that, on the face of it, Ben Wheatley’s movie would sit alongside. This pulpy, lean slice of comic violence owes more to the early 90’s stylistics of down’n’dirty Tarantino than to Scorsese or Friedkin, but given i’ts set in the 70’s, was executive produced by Martin Scorsese, and certainly has plenty of now retro-connections to that decade, this seems a good place to analyse Free Fire in the context of the crime pictures of that decade. Where does it fit? Should it fit at all? Or should it rather tuck in behind Reservoir Dogs and, anachronistically, exist slightly out of the time it’s very much rooted in?
Crime thrillers of the 1970’s, for a start, »
- Tony Black
3 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners