Apparently crashing buses falls into the purview of what a "spider can" do.
Fede Alvarez, the director of the Evil Dead remake, is taking a cue from his predecessor and mentor, Sam Raimi, by opting to exclusively use practical effects.
Only God Forgives, Ryan Gosling and Nicolas Winding Refn’s follow up to Drive, finally has a teasing first look.
A follow-up to Crime is Our Business (2008) and based loosely, very loosely, on one of Agatha Christie's Tommy and Tuppence stories, Partners in Crime reunites us with Prudence and Belisaire Beresford (Catherine Frot and Andre Dussollier), a retired couple with a rather mysterious background in the military. At the start, Belisaire is having a high old time plugging his best-selling memoires and basking in the resultant celebrity. But for Prudence – who possesses a near-photographic memory and startling acrobatic prowess – life as as senior citizen is much less fulfilling. Until, that is, she's invited to run a detective agency in Geneva. Time to play gumshoe on the mean streets of Switzerland!
It's now over half a century since Alain Resnais burst on the international art house scene with Last Year in Marienbad – a dazzling maze of a movie that is either one of the most beautiful and iconic ever made, or one of the most pretentious and annoying, depending on your point of view. Whatever else you may think of it, his latest offering, You Ain't Seen Nothin' Yet, shows that, in the intervening years, the nonagenarian director has lost none of his appetite for playing games with the viewer.
Rare amongst Ealing’s catalogue of cheerful, community-spirited movies is this bleak, noir thriller. Hacked by 15 minutes and marketed as a B-picture back in 1958, Nowhere to Go has been almost entirely forgotten, both on its own terms and as a product of Michael Balcon’s studio. This is unfair on such a stylish film, scripted by firebrand theatre-critic Kenneth Tynan and featuring veteran actress Maggie Smith in her first feature role. This new release of a fully uncut, pristine master will hopefully bring with it a new and appreciative audience; the same people, perhaps, who saved other, once maligned thrillers of the genre, such as Touch of Evil and Night and the City, from undeserved obscurity.