Louis Drax is a young boy who lives with his mother and father, the family are close but each year Louis seemingly has a bad accident. His parents put this down to their son's clumsy ways but they're fully aware that something deeper might be at play.
It's Louis ninth birthday and he and his parents plan to go into the woods for a picnic to celebrate. As the trio begin to have a nice time, tragedy strikes and Louis is found at the bottom of a cliff.
In a deep coma, the young boy is transferred to a special coma unit where his vitals are monitored by acclaimed neurologist Dr. Allan Pascal. Louis had been technically dead for two hours before being rescued and the fact that he's reciprocating to any form of treatment is a miracle in itself.
Continue: The 9th Life of Louis Drax Trailer
After his assuredly traditional The Conjuring, director James Wan bounces back with a more playful horror movie that subverts cliches rather than revelling in them. Like 2011's Chapter 1, this sequel allows Wan and screenwriter Whannell to merrily reinterpret the story with events that take place before, after and even right in the middle of that first film. And they are clearly having a lot of fun in the process, which keeps us both entertained and frightened.
It picks up right where we left off: with their son Dalton (Simpkins) rescued, Josh and Renai (Wilson and Byrne) take their three kids and flee to stay with Josh's mother Lorraine (Hershey). But of course, the ghostly nastiness follows them, and extremely creepy things start happening all over again. Now Lorraine realises that this has something to do with an event from Josh's childhood, so she calls in an old family friend (Coulter) to help. But ace ghostbuster Elise (Shaye) isn't readily available this time, so they have to make due with her always-distracted sidekicks (Whannell and Sampson).
As before, Wan deploys every standard haunted house gimmick in the book, filling the screen with freak-out apparitions, scary noises, slamming doors and screaming babies. He also uses plenty of movie trickery to disorient us, including a jarring musical score and suggestive visuals. Meanwhile, Whannell is digging around in the original movie's plot for things he can play with, redefining events with clever revelations while adding a whole new underlying story to the saga. And the film continually shifts tonally, so we never know what to expect in the next scene.
Continue reading: Insidious: Chapter 2 Review
Renai and Josh Lambert think that their life is back to normal after a horrific paranormal ordeal involving their son Dalton whose gift of astral projection landed him in a coma and possessed by several malevolent forces. However, Josh is now tormented by his own demon after it succeeded in claiming his body when he ventured into 'The Further' to save his child. His wife and child are unaware of his condition at first, but it soon becomes clear that they have to rope in new ghost-busting help to save their family who are far from out of danger yet. They're no strangers to inanimate objects moving of their own accord and ghostly figures wandering around their house, but what they're facing now could be much more sinister than they ever imagined.
Continue: Insidious: Chapter 2 Trailer
Watching the 1989 movie today, it's not just an unabashed chick flick, it's also revealed as a plain-old Bad Movie. For starters, it's not really about anything, instead preferring to work (or not) as a collection of loose scenes that illustrate the ups and downs of two friends (Midler and Barbara Hershey) from their pre-teens to the grave. Things happen, but not much. The film's only real plot point comes in the last act (spoilers ahead if you care), when Hershey's character croaks on us, sticking Midler with her daughter.
Continue reading: Beaches Review
Based on Tom Wolfe's novel (though heavily inspired by the truth), The Right Stuff follows the formative years of the space race, from 1947 to 1963, when it was us vs. the Russians. The film begins as we first punch through Mach 1 in experimental aircraft and ends with seventh and final Mercury astronaut blasting off.
Continue reading: The Right Stuff Review
But seriously, that's what you're going to be doing if you see The Portrait of a Lady -- Jane Campion's follow-up to The Piano, based on Henry James's "classic" novel that you've probably never read. Now, I'm wishing that I had, though, because Portrait is a fantastic movie to watch, exquisitely crafted and painstakingly detailed, gorgeously photographed and full of style -- but it is just plain impossible to follow.
Continue reading: The Portrait Of A Lady Review
With a highly acclaimed cast that includes Anthony LaPaglia, Barbara Hershey, and Geoffrey Rush you would hope this idea would provide great material for such illustrious actors to sink their teeth into. Unfortunately, having been adapted for the screen from a play, by the playwright himself, much of the emotional impact is lost in overwhelmingly dramatic dialogue.
Continue reading: Lantana Review
Hoosiers stars Gene Hackman as Norman Dale, a former successful college coach with a checkered past, who takes a last chance job coaching small Hickory High in 1951. Despite being located in basketball-crazed Indiana, the Huskers only have six players and they're missing their star, Jimmy Chitwood, a troubled boy who doesn't say much. His soft shooting touch does all of the talking.
Continue reading: Hoosiers Review
Marital stress hangs like an albatross around the necks of all the primary characters in "Lantana," an viscous Australian ensemble piece that begins as an intricate, intimate web of rocky relationships and evolves into a tangled, disconcerting mystery.
Two floundering couples, connected through six-degrees-of-separation periphery, are at the center of the story. Anthony LaPaglia is Leon Zat, a police inspector who takes out his many frustrations on suspects and in bed with Jane (Rachael Blake), an almost-divorcee from the salsa dance class his wife drags him to every week. His marriage to brittle Sonja (Kerry Armstrong) has grown tepid and uncommunicative -- a fact that she regularly bemoans to her shrink, Valerie Sommers (Barbara Hershey).
Valerie is a woman who has had a hard time maintaining her professional detachment since her young daughter was murdered two years before. Her marriage to John (Geoffrey Rush), a prickly law school dean, has grown so numb since the loss of their child that they speak to each other -- even about sex -- like uneasy co-workers. And the fact that John deals with his sorrow in quietly tearful visits to the murder site while Valerie has chosen to grieve publicly, publishing a book about the killing, hasn't helped heal their rift.
Continue reading: Lantana Review
Louis Drax is a young boy who lives with his mother and father, the family...
After his assuredly traditional The Conjuring, director James Wan bounces back with a more playful...
Renai and Josh Lambert think that their life is back to normal after a horrific...
With a riotous sense of energy and humour, this horror movie continually shifts gears to...
Aronofsky takes his usual bravura cinematic approach to this harrowing psychological thriller set in a...
If you haven't been beaten over the head enough with news of the grand entrance...