★★★☆☆ This week, Aaron Eckhart throws his hat into the cerebral action hero ring for Philipp Stölzl’s The Expatriate (Erased, 2012), an American espionage thriller which has more than a whiff of déjà vu about it. Imagine a less icily-efficient Jason Bourne, with a petulant daughter in tow, and you’re Continue Reading
★★☆☆☆ Hot on the heels of Eran Creevy’s slick London cat-and-mouse chase Welcome to the Punch (2013) comes George Isaac’s All Things to All Men (2013), a British crime flick with as much ambition as its title. But where Punch abstracted the nation’s capital, filtering it through layers of Hong Continue Reading
★★☆☆☆ Classical music has always been an opulent breeding ground for cinematic stimulation; from Miloš Forman’s Amadeus (1984) to Michael Haneke’s The Piano Teacher (2001), the emotionally expressive prowess of the medium has been a rich source of inspiration for decades. Attempting to capture the essence of the pursuit is Continue Reading
★★★★☆ A fluorescent, hypnotic orgy of guns, girls, drugs and electro, American indie cinema’s enfant terrible Harmony Korine eschews the low budget trappings of his previous feature, 2009’s bizarre Trash Humpers (which voyeuristically followed a group of garbage-mounting Nashville pensioners), for the sun-drenched, liquor-soaked Florida coastline of Spring Breakers (2011). Continue Reading