There are lots of things you can do with Bill Murray if you’re lucky enough to have him appear in your movie. One of the most rewarding, as Sofia Coppola and Wes Anderson have found out, is to place him in the midst of a real feel-good story. St.Vincent, the impressive feature debut from writer/director Theodore Melfi taps into this morish Murray quality with ease and provides one of the most rewarding performances of 2014.
Tag Archives: A Movie a Week
Writer-director team Adam Wingard and Simon Barrett have been ones to watch in the horror genre for the past few years. Their eye-catching segments in anthology series V/H/S and The ABCs of Death alongside their slick features You’re Next and A Horrible Way To Die planted them firmly on the map of astute genre fans everywhere. Their latest is The Guest, a sort of mutant hybrid of First Blood and Halloween that marks the duo’s most ambitious – and most enjoyable – work to date.
Living with your friends is never easy. Flatmates never pull their weight; they don’t tidy and it’s such a pain in the neck when they bring victims home, get blood stains everywhere and then refuse to clean up the mess. Well, maybe that last one is a little niché but it’s certainly accurate of ace Kiwi-comedy What We Do In The Shadows. The new horror mockumentary from Flight of the Conchords’ man Jemaine Clement and his Eagle Vs Shark collaborator buddy Taika Waititi takes a hilariously kitchen-sink look at the day-to-day (or should that be night-to-night?) mundanity of undead Vampire life.
Ryan Bingham lives in the air, travelling from workplace to workplace, hired to let employees of other companies know that they’re fired. He has no home to return to or time for commitments. Ryan Bingham is married to his job and in case you were wondering, Ryan Bingham loves his life.
Sometimes, just when you think you’ve got it all everything collapses around you. Sideways director Alexander Payne dives head first into this bittersweet subject matter with his melancholic new movie The Descendants. George Clooney plays Matt King, the last in a long line of beneficiaries due to inherit a large portion of scenic Hawaiian real estate and a father of two unruly daughters. He lives in a picturesque paradise, surrounded by postcard perfect beaches and tropical foliage but as he so eloquently explains in the film’s opening monologue, ‘Paradise can go fuck itself’.
In 2010 Matthew Vaughn’s Kick Ass gave the complacent superhero genre a roundhouse kick to the chops. It was a move that didn’t go unnoticed. So when Bryan Singer, Hollywood’s inky-page to silver screen usher was pondering a suitable heir to his throne, the choice was simple.
Movie critic Roger Ebert called it “A vile bag of garbage” and described watching it on the big screen as one of the most depressing experiences of his life. Meir Zarchi’s I Spit On Your Grave defined the rape-revenge genre and introduced it to audiences whether they were ready for it or not. A rough around the edges cinematic sucker punch, it’s a movie you’ll only ever watch once but one you won’t soon forget. When Jennifer, a young writer, decides to retreat to a country cabin to draft her first novel in peace she unwittingly attracts the attention of four bored country boys and gets quite the opposite. After being brutally assaulted, raped and left for dead she recuperates, bides her time and plots her merciless revenge against her hillbilly attackers.