The Major is the leader of a specialist armed forces unit called Section 9; the Major and her team deal with specialist cyber terrorist attacks. The reason why the Major is such an effective leader and fighter is she's not entirely human. She was saved by a group of specialist doctors who work at a lab which is part of the Hanka group. The Major can withstand huge amounts of damage to her body 'shell' but that doesn't mean that she's completely invulnerable - if she pushes herself too far, she will eventually die. Her own mortality doesn't stop The Major from testing her limits.
The Major finds herself involved in what could be a huge cover-up; so big, most might presume it attested to nothing more than unproven conspiracy. Treading a line of fact and manipulated reality, The Major and her team must find a way to uncover the truth behind dangerous hacks.
The 2017 movie 'Ghost in the Shell' is based on the manga series of the same name. Whilst in the movie the lead character is known predominantly by the name 'The Major', in the original stories, she was called Motoko Kusanagi.
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Rick is one of the hottest screenwriters in Hollywood but after the death of his brother he finds himself becoming absorbed into a world of parties, drinking and excess. Parties are part of the norm for Rick but after the loss of his brother he finds himself evaluating his life and what it all means.
Spiralling uncontrollably his only real solace comes from short lived relationships with women, but each relationship actually brings Rick a little closer to the closure he seeks.
Knight Of Cups is the new film from Terrence Malick (The Tree of Life & The Thin Red Line)
What could have been an intriguing look at how Alfred Hitchcock created one of his most iconic masterpieces is instead turned into a gently entertaining romp. We may enjoy watching the twists and turns as this troubled project takes shape, but the script simply never breaks the surface or gives its stars any real depth to play with. So in the end, the most engaging thing about the film ends up being the portrayal of Hitchcock's marriage.
The story starts with the 1959 premiere of North by Northwest, a hit that critics dismissed as more of the same from a master resting on his laurels. So Hitchcock (Hopkins) decides to give them something unexpected, and takes his first foray into horror based on the little-known novel Psycho, a fictionalised story about a real serial killer. Working closely with his wife Alma (Mirren) on every aspect of the film, he is in constant conflict with the studio chief (Portnow) and the chief censor (Smith), who both believe the material is too strong. Meanwhile, Alma is tired of him flirting with his leading ladies (Johansson and Biel), so she takes a side job with a writer (Huston) who wants to be more than friends.
Oddly, neither director Gervasi (Anvil) nor writer McLaughlin (Black Swan) seems interested in getting beneath the surface of their central character, so Hitchcock is little more than the jovial caricature we saw in his TV anthology series. Hiding under layers of prosthetic face and body fat, Hopkins is good but never seems to break a sweat in the role. Which leaves Mirren to steal the film as Alma, mainly by departing from reality to create a more intriguing movie character instead. And Collette adds some spice as Hitchcock's assistant. But as the cast of Psycho, Johansson (as Janet Leigh), Biel (Vera Miles) and D'Arcy (Anthony Perkins) are only given small details to define them, which leaves them lurking uninterestingly around the edges.
Continue reading: Hitchcock Review
Some of Hollywood's most established stars - not least the cast themselves - turned out for the premiere of Hitchcockyesterday (November 20) at the Samuel Goldwyn Theater in Beverly Hills, California. It's not surprising that such a dazzling array of talent should take to the red carpet, given that the film effectively honours one of the greatest directors of all time in Alfred Hitchcock. Taking center stage were leading ladies Toni Collete, Jessica Biel and, of course,Dame Helen Mirren- the latter extremely enamoured by Biel's gorgeous dress, struggling to keep her hands off it.
Michael Wincott - Michael Wincott, Tuesday 20th November 2012 at the premiere of Fox Searchlight Pictures' 'Hitchcock' at the Academy of Motion Picture Arts and Sciences Samuel Goldwyn Theater - Arrivals.
Alfred Hitchcock was in his sixties and struggling to come up with a fresh idea for a new movie; that was until the notoriously terrifying story of 'Psycho' by Robert Bloch came along in 1959. Arguably one of his best ideas for a movie to date, the Oscar nominated Hitchcock set to work pulling it together despite the extreme scepticism of his wife Alma Reville and Paramount Pictures who disapproved of the degree of horror the movie maker was planning to utilise. In fact, he was so confident that he was willing to pour in thousands of dollars for the film to be made when he was refused his usual budget from the studio; an action that Alma found irresponsible and rather worrying.
'Hitchcock' is drama biopic strongly focused on Alfred's often strained though very loving relationship with his wife and has been based on the book 'Alfred Hitchcock and the Making of Psycho' by Stephen Rebello. Directed by Sacha Gervasi ('Anvil: The Story of Anvil' documentary) and written by BAFTA nominee John J. McLaughlin ('Man of the House', 'Black Swan'), this is story of how 'Psycho', one of the greatest films of all time, was made including its inspiration from real-life Winconsin murderer and grave robber Ed Gein. It is set for release on February 8th 2013 in the UK.
Starring: Scarlett Johansson, Anthony Hopkins, James D'Arcy, Jessica Biel, Michael Stuhlbarg, Ralph Macchio, Toni Collette, Judith Hoag, Danny Huston, Michael Wincott, Kurtwood Smith, Richard Portnow, John Rothman, Tara Summers, Helen Mirren.
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And yet here it is.
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After realizing that Eddie Murphy's new cop movie is not"Beverly Hills Cop IV" but something worse -- being far too longon action and far too short on laughs -- I began trying to salvage thispaticular trip to the theater.
What were the things I liked about "Metro," inwhich Murphy plays a police hostage negotiator in San Francisco? I counttwo.
First, there is a raucous chase scene involving an out-of-controlcable car that sends tourists and automobiles flying every which way. Thisscene requires an extraordinary ability to suspend disbelief since, asmost Northern Californians know, a penny on the tracks derails one of thesethings.
Continue reading: Metro Review
The latest big screen adaptation of Alexandre Dumas' "The Count of Monte Cristo" has such a conspicuously clean Hollywood ending that, even though I've never read the book, I was suspicious and went online to bone up a little before writing this review.
Sure enough, even the central act of revenge that motivates this classic tale of obstinate, meticulous reprisal has been unduly rewritten to make for a cinematic and action-packed climax. The hero has been acquitted of his less honorable acts, the fates of characters have been drastically altered (those that haven't been dropped completely, that is), and comic relief has been shoehorned into the story so crudely you can almost see the impatient studio suit tapping his foot on the set and saying, "Can't this be funnier?"
Yet even with these gross departures, this "Count" has such a flavorful, popcorn-literature air about it that at its worst it still recalls the best of Golden Era swashbuckler flicks.
Continue reading: The Count Of Monte Cristo Review
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