shepherd.com/bboy/2025/f/...
shepherd.com/bboy/2025/f/...
www.alistairowenwriter.com/the-mirror-a...
www.alistairowenwriter.com/the-mirror-a...
www.alistairowenwriter.com/the-vetting-...
www.alistairowenwriter.com/the-vetting-...
Everything you might expect from director Steven Soderbergh and Panic Room writer David Koepp, and perhaps a little bit more: sleek, smart, stylish, slyly witty and coolly seductive. Mr & Mrs Smith meets Tinker Tailor Soldier Spy, by way of The Ipcress File.
Everything you might expect from director Steven Soderbergh and Panic Room writer David Koepp, and perhaps a little bit more: sleek, smart, stylish, slyly witty and coolly seductive. Mr & Mrs Smith meets Tinker Tailor Soldier Spy, by way of The Ipcress File.
www.alistairowenwriter.com/hampton-on-h...
www.alistairowenwriter.com/hampton-on-h...
Like Jason Bourne with laughs or Quentin Tarantino with heart, this super-stylish 6-parter from @joebarton.bsky.social is even more entertaining on 2nd viewing - episode 5, in particular, funnier than most romcoms amid the gunplay and bloodshed. Season 2, please!
Like Jason Bourne with laughs or Quentin Tarantino with heart, this super-stylish 6-parter from @joebarton.bsky.social is even more entertaining on 2nd viewing - episode 5, in particular, funnier than most romcoms amid the gunplay and bloodshed. Season 2, please!
Epic in scope, intimate in detail, and crafted with breathtaking precision, Michael Mann's crime classic hasn't dated a day in nearly three decades - and makes most current Hollywood movies look pretty puny by comparison.
Epic in scope, intimate in detail, and crafted with breathtaking precision, Michael Mann's crime classic hasn't dated a day in nearly three decades - and makes most current Hollywood movies look pretty puny by comparison.
Series 1 of Ben Chanan's conspiracy thriller was good. Series 2 is better: tense, twisty and unsettling - though it's ironic that a drama about data manipulation has been quietly recut from a neat 6 parts to a messier 8 on its way from the Beeb to Netflix.
Series 1 of Ben Chanan's conspiracy thriller was good. Series 2 is better: tense, twisty and unsettling - though it's ironic that a drama about data manipulation has been quietly recut from a neat 6 parts to a messier 8 on its way from the Beeb to Netflix.
The opening is so dry (even after skipping the titles) that I nearly gave up. But then I'd have missed a mixture of Kubrick's formalism, Polanski's suspense and Todd Field's own brand of cool detachment. Compellingly odd.
The opening is so dry (even after skipping the titles) that I nearly gave up. But then I'd have missed a mixture of Kubrick's formalism, Polanski's suspense and Todd Field's own brand of cool detachment. Compellingly odd.
bit.ly/story-character
bit.ly/story-character
The story is absurd, the characters cardboard, the dialogue clunky and the direction workaday, but I love it anyway - for Alec Guinness's moving cameo, for John Barry's magnificent score, for the Titanic surfacing again. A not-so-guilty pleasure.
The story is absurd, the characters cardboard, the dialogue clunky and the direction workaday, but I love it anyway - for Alec Guinness's moving cameo, for John Barry's magnificent score, for the Titanic surfacing again. A not-so-guilty pleasure.
The best adaptation so far, by far, of a Robert Harris novel, thanks to a taut script by Peter Straughan, powerful direction by Edward Burger, towering performances across the board - and a twist that stuns even more on screen than it did on the page. Riveting.
The best adaptation so far, by far, of a Robert Harris novel, thanks to a taut script by Peter Straughan, powerful direction by Edward Burger, towering performances across the board - and a twist that stuns even more on screen than it did on the page. Riveting.
David Hinton's feature documentary, passionately fronted by Martin Scorsese, is a wonderful, beautiful love letter to British cinema, right up there with the AFI's classic film about cinematography, Visions of Light. Moving, thrilling and inspiring.
David Hinton's feature documentary, passionately fronted by Martin Scorsese, is a wonderful, beautiful love letter to British cinema, right up there with the AFI's classic film about cinematography, Visions of Light. Moving, thrilling and inspiring.
Bridging the gulf between Stephen King and Stanley Kubrick's visions of The Shining, Mike Flanagan's 3-hour cut of Doctor Sleep is a tour-de-force: ambitious, disturbing and, when it finally goes where you hoped it would, oddly pleasurable. An adaptation like no other.
Bridging the gulf between Stephen King and Stanley Kubrick's visions of The Shining, Mike Flanagan's 3-hour cut of Doctor Sleep is a tour-de-force: ambitious, disturbing and, when it finally goes where you hoped it would, oddly pleasurable. An adaptation like no other.
Drawing as much on Stanley Kubrick as Ridley Scott, this is a rare sequel that equals and even surpasses the original - director Denis Villeneuve crafting Hampton Fancher and Michael Green's script into a cerebral, ethereal and truly monumental work.
Drawing as much on Stanley Kubrick as Ridley Scott, this is a rare sequel that equals and even surpasses the original - director Denis Villeneuve crafting Hampton Fancher and Michael Green's script into a cerebral, ethereal and truly monumental work.
Mannered, melodramatic but intensely immersive, Alfonso Cuarón's adaptation of Renée Knight's novel is driven by mesmeric turns from Blanchett, Kline and - almost unrecognisable in a serious drama - Sacha Baron Cohen. A real kettle of fish.
Mannered, melodramatic but intensely immersive, Alfonso Cuarón's adaptation of Renée Knight's novel is driven by mesmeric turns from Blanchett, Kline and - almost unrecognisable in a serious drama - Sacha Baron Cohen. A real kettle of fish.
Paddingtons 1 & 2 were full of energy, tightly controlled. With a different director at the helm, and a bevy of writers on board - plus a new Mrs Brown - this charts a more wayward course, but remains a joyously entertaining journey.
Paddingtons 1 & 2 were full of energy, tightly controlled. With a different director at the helm, and a bevy of writers on board - plus a new Mrs Brown - this charts a more wayward course, but remains a joyously entertaining journey.
Each version of Batman is darker than the last; this, from writer/director Matt Reeves and co-writer Peter Craig, is like The Godfather meets Se7en: an epic, Gothic crime saga, sumptuously designed and photographed, and richly scored by Michael Giacchino. Riveting.
Each version of Batman is darker than the last; this, from writer/director Matt Reeves and co-writer Peter Craig, is like The Godfather meets Se7en: an epic, Gothic crime saga, sumptuously designed and photographed, and richly scored by Michael Giacchino. Riveting.
I wrote about my 3 favourite reads from the past year for Shepherd Books: Cimino by Charles Elton (discovered via @drjonty.bsky.social's Writers On Film podcast); Hits, Flops, and Other Illusions by Ed Zwick; and Word Monkey by Christopher Fowler...
shepherd.com/bboy/2024/f/...
I wrote about my 3 favourite reads from the past year for Shepherd Books: Cimino by Charles Elton (discovered via @drjonty.bsky.social's Writers On Film podcast); Hits, Flops, and Other Illusions by Ed Zwick; and Word Monkey by Christopher Fowler...
shepherd.com/bboy/2024/f/...
bit.ly/mirror-road
bit.ly/mirror-road