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The 15:17 to Paris review Clint Eastwood derails a tale of real-life terror

Charmaine Blake

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Three young Americans who bravely foiled an attack on a train play themselves in a drama that focuses too much on their excruciatingly dull backstories

The 15:17 to Paris review Clint Eastwood derails a tale of real-life terror

2 / 5 stars

Three young Americans who bravely foiled an attack on a train play themselves in a drama that focuses too much on their excruciatingly dull backstories

Read more: https://www.theguardian.com/film/2018/feb/08/the-1517-to-paris-review-clint-eastwood-france-train-attack

New Movie Reviews

They Shall Not Grow Old Movie Review

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Jackson has restored, colourised and added voices to footage of the western front, bringing the soldiers unforgettably back to life

“To mark the centenary of the first world wars end, Peter Jackson has created a visually staggering thought experiment; an immersive deep-dive into what it was like for ordinary British soldiers on the western front. This he has done using state-of-the-art digital technology to restore flickery old black-and-white archive footage of the servicemens life in training and in the trenches. He has colourised it, sharpened it, put it in 3D and, as well as using diaries and letters for narrative voiceover, he has used lip-readers to help dub in what the men are actually saying.

The effect is electrifying. The soldiers are returned to an eerie, hyperreal kind of life in front of our eyes, like ghosts or figures summoned up in a seance. The faces are unforgettable.

Watching this, I understood how the world wars of the 20th century are said to have inspired surrealism. Thirty or so years ago, there was a debate in film circles about the sacrilege of colourising classic black-and-white movies. This is different. The colourisation effect is artificial, as is 3D (as is monochrome, too, of course), and the painterly approximation of reality presents a challenge to what you consider real on film. After a few minutes, I realised that force of cultural habit was causing me to doubt what I was seeing, because colour means modern. The colourisation, and everything else, is a kind of alienation shock tactic as well as a means of enfolding you in the experience. It is an indirect way of reminding you that this really did happen to people like you and me.

They Shall Not Grow Old is arguably limited in scope: it is just about the western front and there is nothing about the German point of view, or about the war elsewhere…………………………………….”

Read more: https://www.theguardian.com/film/2018/oct/16/they-shall-not-grow-old-review-first-world-war-peter-jackson

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Apostle review exhilarating Netflix horror is a wild, gory surprise

Charmaine Blake

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Gareth Evans, director of The Raid, shocks and confounds with an ultra-violent tale of a mad prophet that transforms into something entirely unexpected

“Apostle, director Gareth Evans first feature-length effort since his pair of The Raid action films achieved instant underground infamy, is that rarest of treats: a horror movie that starts out as one thing, and finishes having mutated into another.

Exhilarating to watch and tricky to write about, similar to such films as The Box and the more recent Annihilation, going beyond surprising its audience with mere twists, instead shaking its own constructed reality off its axis. A full shift occurs not just in tone, with suspense boiling over into scalding insanity, but in the narrative mode, as the established set of unspoken rules governing the universe get violently upended. As soon as the viewer believes theyve got a grip on what sort of horror story theyre in for, Evans demonstrates that in the chaotic universe contained within his camera, anything can happen. And just about everything does; Evanss maximalist more-is-more ethic piles on one Grand Guignol spectacle after another, building to an operatic, hallucinatory climax that leaves our puny reason behind for a metaphysical nirvana. Polarizing yet undeniably fascinating, the bait-and-switch horror film lures its viewer into a false sense of terrified security before pouncing in an anything-goes frenzy, and Evanss latest is a prime specimen.

For the first hour, hed like you to believe youve wandered into a particularly reverent Wicker Man homage, and he makes the legwork of setting…………………………..”

Read more: https://www.theguardian.com/film/2018/oct/10/apostle-review-gareth-evans-exhilarating-netflix-horror-is-a-wild-gory-surprise

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Overlord Movie Review

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Overlord makes no bones about what it is – this is an A-list budgeted movie with a B-movie heart. It knows exactly what it wants to do, and takes itself seriously (even when the movie commits to how goofy it can get). One wink or nudge to its audience, and the balloon gets popped, and to its credit, Overlord never once does that, which makes it much more fun and exciting. The movie throws us straight into it from the opening titles, reminiscent of all those great war films of old, and sprints to the finish line for most of its running time.  Overlord also embraces every war movie cliche like a mom to her kids at Thanksgiving, but we don’t mind.  The characters, with few exceptions, are straight out of the playbook for these kinds of things, but the actors are having such a good time that it becomes infectious.

Why does Overlord work as well as it does? For one thing, director Julius Avery shoots this thing like he’s being chased.  The opening action sequence riffs off of every recent war movie from the past twenty years, but Avery keeps it exciting and intense………………..”

Read more at:  http://www.comingsoon.net/movies/features/985975-fantastic-fest-2018-overlord-review#F7U5wpd3gTUti0K8.99

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