This courtroom drama delivers a fine reworking of the Open Mystery. We know who committed the murder but not why. The storytelling builds curiosity by making us guess between at least six different whys and the possibility of innocence.
If Oscar Wilde diddled Noel Coward (or the other way round), this show would be their great great grandchild.
Robert McKee shares his thoughts on the new film by 45 YEARS director, Andrew Haigh.
Over the last few years there seems to be a trend or at least a drift toward minimalism and a focus on inner conflict. More and more well-regarded films are being told in just one act.
A study of exemplary stories pushed from the past.
With THE SHAPE OF WATER, Guillermo del Toro has simply recycled his previous hit into a clichéd, toothless echo.
What makes this film exceptional is McDonagh’s insight into the human psyche and the new twist he puts on an ancient subject.
Myth versus fiction. GAME OF THRONES merges these political extremes into one ingeniously massive yarn.
ATOMIC BLONDE bombs for many reasons, but the ABCs are: (A) a false financial premise, (B) a catalogue of clichés, and (C) inept execution of genre convention.
From its screenplay through its casting and on out to its camera work, this bare-knuckled psycho-thriller employs compelling counterpoint techniques to sharpen both meaning and emotion.
Thinking of adapting a novel to the screen? If so, don’t miss MY COUSIN RACHEL. This suspenseful summertime treat offers an excellent case study of a brilliantly told novel skillfully escorted from page to screen by writer/director Roger Michell.
Before she was Wonder Woman she was Diana, princess of the Amazons, trained warrior. When a pilot crashes and tells of conflict in the outside world, she leaves home to fight a war to end all wars, discovering her full powers and true destiny.