It’s a bit like going back home and seeing your kooky family again after several years. Except your family isn’t nearly as interesting as the highest grossing romantic comedy of all time. And your family didn’t get a sequel after 14 years. There’s the seldom-discussed spin-off TV sitcom, My Big Fat Greek Life, but just like your black sheep step-sister Joanne, it didn’t really accomplish much in the end. My Big Fat Greek Wedding 2 isn’t bigger, better, fatter, or more Greek than the original 2002 sleeper hit, but it isn’t simply more of the same either.
If you’re really good at showing the honest, tangible fragility of human beings in the films that you write or direct, why would you make a stop-motion movie with puppets? Not only that, but the puppet characters in Charlie Kaufman‘s Anomalisa are obviously puppets. The seams on the puppets’ interchangeable faces are clearly visible, and some artifacts of the animation process aren’t concealed. Maybe it’s due to the fact that all the characters in protagonist Michael Stone’s (David Thewlis) life look and sound the same (portrayed by Tom Noonan). Just like in Kaufman’s directorial debut, Synecdoche, New York, where Caden Cotard shows a lot of symptoms of Cotard’s syndrome, Stone experiences the Fregoli delusion – the belief that different people are all the same person.
Die Ontwaking is ‘n sielkundige misdaadriller, gegrond op Chris Karsten se roman Abel se Ontwaking (die eerste boek in ‘n trilogie). Dit gaan oor Ella Nesser (vertolk deur Juanita de Villiers), ‘n jong en relatief onervare speurder wat op die spoor is van die “Nagsluiper” – ‘n reeksmoordenaar. Terselfdetyd leer ons ook Abel Lotz (Gys de Villiers) ken. Bedags is hy ‘n ongemaklike, eienaardige eienaar van ‘n klein galery en kenner van Afrika-maskers en Kuns. Na-uurs sluip hy in die nag.
You’ve very probably seen Deadpool described as a “superhero movie with a twist”. It has the Marvel logo at the start, it features a guy in a colourful suit, and there’s an extra scene after the credits. But on the other hand, (just like the comic book) it’s more self-referential and meta than any other superhero movie you’ve seen. It has a lot of humour, and a lot of violence. From the first images of the opening credit sequence to the post-credit bonus scene, it pokes fun at itself and the superhero film genre in general. It was an unconventional situation: The movie was stuck in development hell for 11 years, and finally got greenlit when test footage leaked, and the fans on the internet went nuts. Its marketing campaign was a clever extension of the character’s sense of humour. Its opening weekend was an unexpected box office record breaker. It’ll probably inspire other R-rated superhero movies. Or out-of-the-box marketing campaigns. Or a ton of Ryan Reynolds movies.
Samuel L. Jackson portrays the bounty hunter Major Marquis Warren in Quentin Tarantino’s 8th film, The Hateful Eight. “Let’s slow it down,” he says at one point, while aiming his revolver at other characters. “Let’s slow it way down.”
I don’t know if there’s ever been a movie with higher expectations than Star Wars: The Force Awakens. Okay, maybe The Phantom Menace, but that’s the black sheep of the family we don’t talk about. The pressure to get things right must have been extreme. I’m pretty surprised director JJ Abrams even survived the ordeal.