End of Watch, the latest film from Training Day scribe and Street Kings director David Ayer, opens with Los Angeles beat cop Brian Taylor (Jake Gyllenhaal) describing himself and his comrades in the police force as “the thin blue line protecting the prey from the
Browsing: Weekend
Bringing with it a new lead character and a change of setting, Assassin’s Creed 3 promised a rebirth for a franchise that has become bloated and directionless over the past two years. But rather than seizing the opportunity to trim the fat
Tim Burton has always been a bit of a hit-and-miss director, but he has missed the mark far more often than he has hit it in recent years. Thankfully, Frankenweenie has Burton more or less on target again with its mixture of retro-Gothic style and childlike fancy. Frankenweenie, Burton’s second
Director Wes Anderson fusses over his films like a mother preparing a tousle-haired child for a photo. His movies are colour-coordinated, neatly buttoned-up, every small hair licked down into place, every quirky little detail – however inconsequential – arranged just so. That’s all
Reservoir Dogs, released 20 years ago in the US this month, blindsided almost everyone who saw it when it first came out with its fragmented storytelling, its juxtaposition of jaunty pop music and bracing violence, and its rat-tat-tat dialogue. That it feels almost conventional today is just a reflection of how influential
Rejoice, 2000AD fans! Dredd is just as tough and uncompromising as the character upon which it is based. It is a lean action movie with a mordant wit and an obvious love for its British comic-book inspiration. Alex Garland’s superb screenplay captures the spirit of the 2000AD comic in a film that plays like
The Bourne Legacy is a valiant attempt to revive one of the best action series of the past decade with a new director at the helm and a new character in the lead. Legacy is not always as effective as the Matt Damon Bourne films, but it shares enough of the trilogy’s virtues to mostly hit the mark for series fans
American indie hit Beasts of the Southern Wild is set in a place so magical that it could be straight from a fable, though it is also as grounded as the New Orleans lashed by Katrina a few years ago. It’s a delta community cut off from the rest of the world by the levee and in danger of sinking beneath saltwater every time bad weather
Pity the small enterprise pitted against a larger rival muscling in on its turf. Especially when the business is selling the best weed in California and the competition is a ruthless Mexican cartel whose anticompetitive behaviour includes torture and murder
There was a time when the spacey melody of Rodriguez’s Sugar Man hung permanently in the air at university digs around SA, as much a part of the atmosphere as the curling cigarette smoke and the pungent scent of incense. More than The Rolling Stones or The Sex Pistols, Rodriguez was the soundtrack of rebellion for liberal young