Tag: Eddie Marsan

  • The dreadful Jack the Giant Slayer is soullessly engineered escapism

    The dreadful Jack the Giant Slayer is soullessly engineered escapism

    Director Bryan Singer‘s Jack the Giant Slayer is almost unbearably dreadful. It continues a recent trend in the fantasy genre: fairy tails used as raw material for soullessly engineered all-ages escapism. See also: Snow White and The Huntsman and Tim Burton’s appalling Alice in Wonderland. It’s hard to understand how Singer could demonstrate the ability…

  • Which Way Is Up: Michael Mann’s Miami Vice

    Which Way Is Up: Michael Mann’s Miami Vice

    The simple truth is that I hated Michael Mann’s Miami Vice on first viewing. On a technical level, it was marred by hideously poor sound — for which I blamed the particular theater I happened to see it in, but a friend of mine had the same complaint about a totally different venue, suggesting something…

  • Sally Hawkins Finds a New Opportunity in Every Setback in Mike Leigh’s Happy-Go-Lucky

    Sally Hawkins Finds a New Opportunity in Every Setback in Mike Leigh’s Happy-Go-Lucky

    Poppy (Sally Hawkins) is a creature rarely encountered in movies and even less often in real life: someone genuinely happy. She’s not bothered by others’ life goals; at 30, she doesn’t have a baby or a boyfriend, own a house, or know how to drive, and none of these concerns are cause for existential angst.…

  • Hancock begs to be read as a metaphor, but for what?

    Hancock begs to be read as a metaphor, but for what?

    Peter Berg’s Hancock refreshingly begins in the middle, bypassing the superhero genre’s now-standard structure. But that leaves a great deal of mythology to relate later, especially for a story not based on an already well-known household name like Spider-Man or Batman. But like most superhero movies, it neatly lays groundwork for potential sequels and prequels.…

  • Michael Mann’s Miami Vice movie is stylish but slight

    Michael Mann’s Miami Vice movie is stylish but slight

    Miami Vice is decidedly slight on character and depth, which is not surprising considering the source material. It is quite so, however, considering writer/director Michael Mann’s track record once leaving the iconic 80s tv show behind. The deep characterization in all his crime dramas ranging from Thief through Collateral elevate them above the ultrastylized and…