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Like a mash-up of Alien and Gravity, this ripping sci-fi horror movie is very effective at generating tension and terror. And it helps that an adept cast is on board to give some weight to characters who are rather thinly written. The script, by Deadpool writers Rhett Reese and Paul Wernick, keeps everything lean and mean, concentrating on the scary stuff while ignoring any thematic depth or topicality. But director Daniel Espinosa (Safe House) keeps it moving briskly.
It's set on board the International Space Station, where a specialised six-person crew is examining new soil samples from Mars. Science officer Hugh (Ariyon Bakare) finds alien life in the dirt, and watches in amazement as the cells grow and cooperate to create an interactive jellyfish-like creature, which schoolchildren on Earth name Calvin. Infectious disease doctors David and Miranda (Jake Gyllenhaal and Rebecca Ferguson) are concerned that this life-form remains contained in the lab. So Captain Kat (Olga Dihovichnaya) and technicians Roy and Sho (Ryan Reynolds and Hiroyuki Sanada) set out to lock things down. But of course, this proves trickier than they thought it would be.
What follows is, unsurprisingly, a stalker slasher movie in which the crew members go down one by one. Calvin is a quick learner, and grows into a seriously menacing creature, complete with the silly addition of a kind of evil digital face. It also gets a few corny point of view camera angles. But mainly Espinosa holds his nerve, maintaining a believable sense of the science and the setting as things get increasingly out of control. Each terrifying set piece is followed by a brief moment of silence in which the characters (and audience) catch their breath. This also allows them to add one back story detail per person, in an attempt to stir up some emotional connection. But it doesn't really matter once the violent mayhem kicks into gear again.
Continue reading: Life Review
The British singer had previously said she would accept the invitation, if she could perform ‘Strange Fruit’.
Former ‘X Factor’ contestant Rebecca Ferguson has confirmed she will not be performing at Donald Trump’s inauguration later this month, because she is uncomfortable with the song that had been chosen for her.
Last week Ferguson confirmed she had been invited to perform at the ceremony and said she would accept the invitation on the condition that she be allowed to perform Billie Holiday’s ‘Strange Fruit’.
Rebecca Ferguson will not be performing at Donald Trump’s inauguration
Continue reading: Rebecca Ferguson Will Not Be Performing At Donald Trump's Inauguration
The British singer has a very particular song choice for the evening.
Writing on twitter, the former ‘X Factor’ contestant said she would accept the offer on one condition, that she be allowed to perform Billie Holiday’s ‘Strange Fruit’, a song from the late 1930s which protested against racism in America.
Rebecca Ferguson says she’s been asked to perform at Donald Trump’s inauguration
As the director of The Help, Tate Taylor may seem like an odd choice to make a movie based on Paula Hawkins' sexy mystery thriller bestseller. While the film features three central female characters, it also has a dark and twisty plot. Taylor manages to bring out plenty of insinuating textures in the characters to keep the audience intrigued, but he never quite gets a grip on the Hitchcockian elements of this story about identity and life expectations.
The title character is Rachel (Emily Blunt), who commutes into Manhattan every day, observing life in the suburban homes along the train line. She's particularly fascinated by one house and the blonde woman (Haley Bennett) who lives there with her lusty husband (Luke Evans). But the fact is that Rachel knows this woman: she's Megan, the nanny who takes care of the infant daughter of Rachel's ex-husband Tom (Justin Theroux) and his new wife Anna (Rebecca Ferguson), who live just a few doors down. And Rachel has a history of stalking them. Then she spots Megan with another man (Edgar Ramirez), just before Megan goes missing. So when Rachel emerges from yet another black-out drunken stupor, she begins to worry about what she might have done.
This is another challenging role for Blunt, who plays the shattered Rachel with raw grit. This is a woman who doesn't trust her own mind, knows that she drinks far too much and feels incapable of getting over her past mistakes. The film also occasionally circles around to show scenes from Megan's and Anna's perspectives, and both Bennett and Ferguson bring superbly unsteady textures to the roles. These are three complex, flawed women dealing with very big issues in their lives. And there are smaller but pivotal roles for the gifted Alison Janney (as a detective), Laura Prepon (as Rachel's flatmate) and Lisa Kudrow (as an old friend). By comparison the men are a bit simplistic.
Continue reading: The Girl On The Train Review
Although this comedy-drama seems to have been written specifically to give Meryl Streep a chance to dress up and put on a silly show, it's actually all true. And it's hugely entertaining, generating gut-wrenching laughter and some sharply resonant emotions too. It's also a subtle exploration of pop culture, most notably privileged artists and the fact that there's more to stardom than just talent.
Streep shines as Florence, a socialite who hosts lavish parties in 1944 New York with her husband St Clair (Hugh Grant). Both of them are frustrated artists: Florence sees herself as an opera diva, while St Clair never quite made it as an actor. So at her parties, Florence puts on performances for her friends, oblivious to the fact that she's riotously off-key, while St Clair plays the doting husband, protecting her from criticism and hiring talented young pianist Cosme McMoon (Simon Helberg) as her accompanist. Florence doesn't really mind that St Clair has a woman (Rebecca Ferguson) on the side. But when she books Carnegie Hall to perform a concert for troops returning from Europe, St Clair realises that he can't protect her from a real audience.
Writer Nicholas Martin and director Stephen Frears construct the story beautifully, building up to reveal Florence's voice in a painfully hilarious sequence that's expertly played by Streep, Grant and Helberg. Streep's enjoyment of the role is infectious, and she makes Florence sympathetic by letting us see her yearning to sing. She imagines she sounds like her operatic idols, so can't hear the strangled notes coming from her mouth. And those who don't applaud are laughing so heartily that surely they're just as entertained. Streep's performance soars through the performance scenes, but is just as powerful in the comedy and at moments when Florence is vulnerable and nervous.
Continue reading: Florence Foster Jenkins Review
Katya and Alexander were never meant to fall in love but that's exactly what happened. The year was 1959 and the couple were both living in Moscow, Alexander a Soviet politician and Katya a spy for the US. Katya was tasked with infiltrating Alexander's political circle by targeting him. Initially Katya's mission goes to plan but when the couple fall in love, her plan goes awry.
Continue: Despite The Falling Snow Trailer
The Weekend Box Office results for 31st July-2nd August are in and the latest installment of ‘Mission Impossible’ reigns supreme.
Mission Impossible: Rogue Nation has topped the U.S. Weekend Box Office (31st July-2nd August). The action film, which was released on 31st July, made $56 million in the U.S. and Canada. The film has made over $40 million more than the other newcomer in the office, Vacation, which comes in at number 2 in the Box Office chart.
The latest 'Mission Impossible' movie might do even better than studios predicted, with over $20 million pulled in on just one night.
It looks as though Tom Cruise’s latest action rampage Mission Impossible: Rogue Nation is going to exceed the very good commercial performance expected of it this weekend, with the news that the thriller has made a near-record $20.3 million on its opening Friday (July 31st).
Industry insiders who have been able to access pre-release audience surveys predicted that the latest MI instalment would make approximately $40 million over its opening weekend. However, the Friday figure from nearly 4,000 theaters – doubly impressive for one that didn’t debut on a Wednesday, according to Forbes – has revised studio expectations upwards to as high as $52 million.
Cruise as Ethan Hunt in 'Mission Impossible: Rogue Nation'
Writer-director Christopher McQuarrie brings a dark and gritty tone to this larger-than-life franchise. Along with a constant stream of barbed humour, the film has an enjoyably knotted mystery plot and action set-pieces that feel like they're grounded in the real world. It's a terrific shift into earthy believability for a series of movies that has previously indulged in gleefully incoherent narratives and exaggerated explosive chaos.
Right from the start, our hero Ethan Hunt (Tom Cruise) is an outsider. As he searches for a shady assassin (Sean Harris) and his mythical organisation The Syndicate, Ethan's Impossible Mission Force is being dissolved by the US government. CIA Director Hunley (Alec Baldwin) absorbs the IMF team, but tech genius Benji (Simon Pegg) secretly helps Ethan, enlisting Luther (Ving Rhames) and William (Jeremy Renner) as well. Soon, all three are gallivanting from Vienna to Morocco and back to London, as Ethan works with double or perhaps triple agent Ilsa (Rebecca Ferguson) to prove that The Syndicate exists and stop its nefarious plan.
The film plays out like an edgy James Bond adventure, as Ethan works with a possibly dangerous woman in exotic locations in pursuit of some very shadowy baddies. McQuarrie's script is unusually lucid for this genre, piecing together the various elements expertly, building a genuine sense of tension without ever letting things tip over into overblown silliness. The chase sequences are remarkably rough and unpredictable, avoiding digital trickery to create moments that are jaw-droppingly authentic. As usual, we can tell that Cruise does his own stunts; the opening hanging-from-an-airplane scene is awesome, and a helmet-free motorbike chase looks even more perilous. With the IMF disbanded, it's never quite clear how Ethan funds his one-man operation, but he has a terrific supply of cool gadgets stashed all over Europe.
Continue reading: Mission: Impossible - Rogue Nation Review
The IMF (Impossible Mission Force) have been active for years, but it's time has run out. The head of the CIA (Alec Baldwin) informs them that they are to be disbanded, but some people can't actually adjust to that sort of thing. Ethan Hunt (Tom Cruise) can't let go, and soon discovers that the IMF is actually needed more than ever. The Syndicate - a Rouge Nation - has been steadily growing over the years, and is seen as an anti-IMF. Now, Hunt and his team must engage in their most impossible mission to date, and fight an enemy which, officially, does not exist.
Date of birth
19th October, 1983
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Like a mash-up of Alien and Gravity, this ripping sci-fi horror movie is very effective...
On board the International Space Station, a group of astronauts and scientists are risking their...
As the director of The Help, Tate Taylor may seem like an odd choice to...
Although this comedy-drama seems to have been written specifically to give Meryl Streep a chance...
The protagonist Rachel Watson (Emily Blunt) in The Girl On The Train is a troubled...
Katya and Alexander were never meant to fall in love but that's exactly what happened....
The shows Florence Foster Jenkins put on were true spectacles but there were only a...
Florence Foster Jenkins was never what you might call a 'naturally' talented opera singer, however...
Writer-director Christopher McQuarrie brings a dark and gritty tone to this larger-than-life franchise. Along with...
The IMF (Impossible Mission Force) have been active for years, but it's time has run...
Despite their countless missions, most of which deemed impossible, the IMF is closing down. Considered...
Following his deadly ordeal of being put through the Twelve Labours by his father Zeus...