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Fantastic Beasts: The Crimes of Grindelwald returns the wizarding world of Harry Potter back to cinemas just in time to hopefully rake in some serious holiday dollars. The film is the second in a planned series of five, and sees Eddie Redmayne return as Newt Scamander as the action shifts from 1920’s era New York City to Paris, France.
Far removed from the intimate and introspective dramatic efforts like Hunger and Shame that began his directorial career, or the Oscar-winning historical tale 12 Years a Slave, Steve McQueen’s Widows is a gritty, visceral genre entry about a group of women orchestrating a high-profile heist. But unlike the stars of this year’s other female-led crime caper, the sleek and stylish Ocean’s 8, McQueen’s characters aren’t professionals, and they’re not flirting with criminality as a lark – these are desperate women who’ve been forced into a situation where they have no other choice.
Video games have a come a long way since the days of coin arcades and sitting on the couch with your best friends and sharing controllers. These days all roads lead to the internet for gaming – just look at the phenomenon of Fortnite or any other of the other massively popular current racing or shooter games. So it makes perfect sense that the highly anticipated follow-up to the enjoyable animated film Wreck-It Ralph is appropriately titled Ralph Breaks the Internet, and sees its heroes venturing out into the immense world of the net.
It’s a shame that David Fincher never had the opportunity to continue the story of Lisbeth Salander after his excellent remake of The Girl with The Dragon Tattoo, with plans for a pair of sequels (based, like the first, on the trilogy of novels by late Swedish author Stieg Larsson) never coming to fruition. And although The Girl in the Spider’s Web: A New Dragon Tattoo story names Fincher as an executive producer, neither the characters nor the world they inhabit bear much resemblance to their previous incarnations.
Told in “six acts and an epilogue set in divided Berlin” as a title card helpfully explains, Luca Guadagnino’s Suspiria is less a remake of Italian horror master Dario Argento’s 1977 film, and more of a complete reimagining. The basic premise of a young woman traveling to Germany in hopes of joining a dance troupe secretly run by a coven of witches remains the same, but the similarities end there: where Argento’s film reveled in excess, Guadagnino opts for restraint, with a muted color palette and a focus on building atmosphere rather than delivering gore-soaked thrills (at least until the…
Queen frontman Freddie Mercury is one of the most beloved and recognizable figures in rock history, known for his lavish costumes and flamboyant personality – both onstage and off – as well as a four-octave vocal range and an incredibly versatile style that helped lead the band to a string of hits throughout the 70s and 80s. Bohemian Rhapsody, christened after one of the group’s most enduring anthems, is mostly a paint-by-numbers biopic, but does offer plenty of material for Queen fans to clap, stomp and sing along with.
When we first meet 13-year-old Stevie (Sunny Suljic), he’s being hurled into a wall and pummeled mercilessly by his older brother Ian (Lucas Hedges). The next scene finds a shirtless Stevie looking into a full-length mirror and contemplating the collection of bruises that cover his torso – obviously, these beatings are a regular occurrence, and Ian clearly knows better than to leave signs of the abuse in a place where they might be noticed by their mother, Dabney (Katherine Waterston).
No matter how many sequels or reboots the Halloween franchise undergoes – like the on-screen persona, interest in the character of Micheal Myers never dies. Here we are in the Halloween season and audiences face yet another attempt to revive this franchise with another return of Jamie Lee Curtis to her iconic role of heroine Laurie Strode after the mostly forgettable H20: 20 Years Later.
From the opening moments of First Man, it’s clear that director Damien Chazelle has set out to depict space travel in a way heretofore unseen on the big screen, eschewing an omniscient perspective in favor of placing the audience inside the cramped cockpit of an X-15 alongside its pilot, a young Neil Armstrong (Ryan Gosling). As the vehicle breaks through the clouds and slips above the atmosphere, we see exactly what Armstrong sees, a sliver of beauty and wonder that we can barely appreciate before the craft begins spinning out of control.
The DC Universe streaming service gets a huge boost of adrenaline this week with the release of its flagship live action original series Titans. The series brings to the life the titular superhero team probably best known for a pair of kid-friendly animated series, but Titans is 100% for mature audiences only.
