I have to admit, straight off the bat, that I’m an absolute sucker for Agatha Christie-type whodunnits, so too is self-confessed fan, writer/director Rian Johnson, as he admitted during his talk at the recent BFI London Film Festival. He certainly demonstrates his love for the genre in his spirited and inventive homage, Knives Out. Johnson knows that half the fun lies in our recognition of the rules of the game, so he immediately provides his audience with a rambling, labyrinthine, old house in the countryside, full of curiosities and knick-knacks, a wealthy patriarch, and a large family with many secrets.
Sometimes you go to the cinema with a certain expectation. After seeing trailers for a film promising non-stop excitement or tear-jerking performances, you buy your ticket and prepare to either be blown away or disappointed. After watching trailers for The Meg I can assure you, that you will get exactly what you expect from this movie featuring Jason Statham and a 75-foot prehistoric shark.
If you want a tense thriller like The Shallows or a hydrophobia-inducing classic like Jaws, then you might want to skip this one.
“Pleased to eat you.”
Created by writer Joe Kelly and artist J.M. Ken Niimura, I Kill Giants was first launched as a limited comic book series from Image Comics in 2008, and compiled into a graphic novel in 2009. Now a full-length feature film from director Anders Walter, I Kill Giants tells the story of pubescent girl Barbara Thorson who spends much of her time focused on the task of luring, trapping and killing the giants that she believes threaten her small coastal town. I Kill Giants does offer a family, fantasy adventure that is brave enough to deal with some distinctly adult themes.
“I find giants, I hunt giants. I kill giants.”
In 1818 Mary Shelley produced one of the most influential texts in literature: Frankenstein; or, The Modern Prometheus. Her novel attracted a huge degree of critical attention and gained increasing cultural importance, so much so that the circumstances of its composition has achieved a kind of mythic status. One might expect that the film would indicate how Mary was shaped by the many losses, difficulties, and disappointments of her life, but instead filmmaker Haifaa Al-Mansour tends to revel in the love story, the costumes and the poetic flights.