The 11th Annual ReelWorld Film Festival began in impressive fashion last night with Rohan Fernando’s tsunami drama, Snow. Sri Lankan born actress Kalista Zackhariyas plays Parvati, a devastated young woman who saw everything she knew swept away amongst the devouring waves of the 2004 Indian Ocean tsunami; one of the deadliest natural disasters in recorded history.
What would you do if you knew you had less than eight minutes to live? For Jake Gyllenhaal’s Captain Colter Stevens it’s not a matter of choice, but rather of necessity. A terrorist attack has just taken place onboard a Chicago commuter train, killing all passengers. With an imminent threat of yet another even more deadly attack, Captain Stevens has unknowingly entered the Source Code, a computer program th
No sappy high school romances; no shirtless Taylor Lautner; and definitely no sparkles are to be found in this refreshing, made-for-adults modern day vampire tale. Zak Kilberg stars as Jacob, a young man with a rare skin disorder making him extremely sensitive to sunlight.
This film is soaked in the cool machismo of its characters. It flows like a clever turn of phrase, like punchy slang, like a barrage of adjectives. It gestures with street-savvy swagger. The camera flies, stops, stares, makes ironic commentary with an angle or a lengthened take.
From ‘visionary’ director Zack Snyder, the mind behind the disappointing Dawn of The Dead remake, the godawful 300, and the surprisingly gratifying The Watchmen, comes his latest visual feast, Sucker Punch. Emily Browning stars as Baby Doll, a young girl who finds herself confined within the borders of a mental institution at the request of her beastly stepfather and has five days until the mysterious ‘High Roller’ (played by Jon Hamm) comes to lobotomize her.
In this consumerist society, one that now has a global prowess far extending western society, you cannot escape the need to be bigger, faster stronger and even drive a faster car. I refine Chris Martin’s lyric here with the operative word need.
Be it the marketing of the films or merely misjudgment on my part, but I always associated the Swedish film adaptations of Stieg Larsson’s Millennium series with the Twilight franchise in terms of both content and target audience. An almost unforgivable blunder that only now, after having seen the first instalment of the trilogy, can I fully comprehend. The Girl With The Dragon Tattoo is the first in a series of three crime novels by Stockholm journalist, Stieg Larsson to be adapted to the big screen; the other two being The Girl Who Plays With Fire and The Girl Who Kicked The Hornet’s Nest.
Have you ever peered deep into the eyes of a parent or grandparent and thought about the life they had long ago? A life before kids; before grandkids. A life you’ll probably never know. For most, that look has nothing to hide, but for others the life they once lived and the atrocities once witnessed will forever be etched into the complexion of their faces. You understand that these are moments of their past that to bring up now would only evoke sorrow. But what if you did find out? And what if what you found out was something you’d rather have not of known in the first place?
The Sword of Doom was directed by Japanese filmmaker Kihachi Okamoto, who’s other notable works include Samurai Assassin (1965) and Kill! (1968). While Okamoto began his career behind the camera with melodramas, he quickly became known as a specialist in the art of the samurai genre. Several of these films were collaborations with legendary screen star, Toshirô Mifune, who also had a role in The Sword of Doom, all be it a supporting one. The story behind The Sword of Doom follows Ryunosuke Tsukue, played by Tatsuya Nakadai, as an unprincipled and brutal samurai with an unorthodox fighting style whose thirst for violence eventually alienates him from other members of his school and even his own father. With no sense of the samurai code or spirituality, he practically travels village to village, slaughtering everyone who gets in his way with no apparent motivation for his savagery.