The Post is a wonderfully acted, well-shot and well-lit display of prime Spielberg craftsmanship. It also is not very good.
The Post shares similarities and problems I had with Spielberg’s previous film, Bridge Of Spies. Both have the Hollywood 60s/70s aesthetic: meticulously created production design, smoke and desaturated . . .
Get A Job is an incredibly confused film that wastes a remarkable amount of talented actors. To be honest, it's difficult to write a review for such a sub-par comedy. The problem is not that it's bad, that would be easy to write about - the problem is that it's just so damn mediocre.
There's a glimpse of . . .
(If Cinespective Had The Final Say)
Out of the the exisiting nominees for 2016's Academy Awards, here are the choices for the main awards I would make. Of course, if I had my way, instead of a Foreign Language Film section, there'd be a Hollywood Film Section with 5 nominees. Get it? Because Hollywood sucks compared to most foreign cinema? Anyways, carrying . . .
Hot off the heels of the overrated, undeserving Oscar winner of last year (Birdman), Alejandro G. Iñárritu and Emmanuel Lubezki strike gold with their Tarkovsky tribute Platoon adaptation - I mean, frontier survival film, starring Leonardo DiCaprio, Tom Hardy and Domnhall Gleeson.
The most talked about aspect of this film . . .
First of all, allow me to point you in the direction of this lazy review from The Guardian. "Are we reaching peak Afghan war film?", posits the first sentence of the article. The answer is a resounding NO. I am all for stopping the glut of World War II films coming out still 60 years on - I think we have enough . . .
Brooklyn is a film that elegantly tip-toes the fine line of being a generic Notebook or a generic Titanic or simply a generic period love story. Fortunately, it's a far more nuanced and emotionally complex film than Titanic or The Notebook could ever be. Thanks to an unforgettable performance from Saoirse Ronan, as well as a . . .
Danny Boyle's Steve Jobs is more of a cinematic experiment a "traditional film". True, it has a beginning, middle and end - a classic three-act structure, but the difference is that each act is thematically related, rather than plot related. Written by Aaron Sorkin, the dialogue and therefore character takes the . . .