Sign in using your account with
The Cold Light of Day: Bland, Confusing Thriller
For anybody planning to watch this for Bruce Willis, be warned- he’s barely in it. We instead spend the whole film following Cavill who plays his son Will who is the only member of the family left free to roam the streets of Madrid. Will’s family has been kidnapped due to Martin’s (Willis) work with the CIA. He’d taken a briefcase from the kidnappers and Will now has to find the bag, which he suspects is with his father’s double crossing partner Jean (Weaver), and get it back to them before they murder every last member of his family.
The film is, as a whole, painfully average but there’s one part in particular that’ll have you screaming in frustration; we never find out what’s in the freaking briefcase! People are getting killed left, right and centre over a plain, black bag. And no, this trick doesn’t give the bag some kind of epically dangerous aura; it’s just infuriating. But lack of clarity is a theme with this film. The fight scenes and car chases are murder to get through. In the former, you can barely see who’s hitting who because the shaky camera work and fast cuts, while the lighting in the latter makes it really difficult to tell the cars apart. Everything’s just so dark. The car chase, despite having some pretty cool scenes of cars rolling down stairs, is robbed of its tension because it’s so confusing.
Cavill joins the generation of actors who are beautiful to look at but incredibly bland. He just goes through the motions here as a man who discovers his inner badass when his family is threatened yet never really embraces those powers. Echegui plays Lucia, his shrieking female sidekick who, despite this unfortunate character flaw, is the most likeable person in the film. Rounding of the cast is Weaver’s Jean. She skirts the line between angry, irritated and insane yet never quite manages to form a compelling villain mainly because we don’t know anything about her or why getting her hands on the briefcase was worth selling out her partner. At the very least though, she’s a badass with a gun.
What the ads fail to show is that this ‘film’ is actually a feature length commercial for Audi to the point that in addition to the cars scattered around everywhere, there’s actually a huge billboard advertising the brand in the film. It’s astonishingly unsubtle but again, when a film is this dull and confusing, product placement becomes highly fascinating.
Taking its cues from David Memet's provocative play, Sexual Perversity in Chicago, About Last Night is a remake of a 1986 Edward Zwick film. Being the latest romantic comedy claiming to take a deeper looks at the age-old subjects of love, sex and relationships, it holds just enough charm and humour to make it an admirable addition to cinema-cheese.
Set on the sunny-streets of L.A, the film follows two best friends; businessman Danny (Ealy) and his motor-mouth best friend, Bernie (Hart). Like many other men their age, the duo’s measure of success lays in how many women they hook up with and they naturally have no interest in looking for or finding ‘the one’.
However, things soon change for them both when Bernie meets the sexy and equally feisty, Joan (Hall), while his best-bud strikes up an immediate connection with Joan's beautiful roommate, Debbie (Bryant).
Time passes by and each couple have shared a fair amount of ups and downs in their respective relationships; Bernie and Joan's hot-headed union is on rocky grounds, while Danny and Debbie – who have moved from a one-night stand status to a full-blown live-in relationship – are questioning whether their relationship will weather the storm of uncertainty and returning exes.
The cast is well-fitted to this type of comedy and, thanks to their on-screen presence, they manage to convey their day-to-day hardships in a way the audiences can easily relate to. Vibrant and infectious, Hart – recently seen alongside Ice Cube in the buddy-cop comedy, Ride Along – puts his over-the-top energy to good use, whilst the dynamics shared with Hall is the movie's key draw. Meanwhile, Ealy's and Bryant's more sedate alliance - told through a gushy, overly-sentimental eye for romance – is satisfying as the meat of the plot, but not as exciting.
Directed by Hot Tub Machine's Steve Pink, the film’s premise is fairly familiar; boy-meets-girl, they share one night of steamy passion, fall in love, move in, before the inevitable question "am I ready for this?" reels its ugly head. However, despite its somewhat conventional and unsurprising setup, the script - written by Bachelorette's Leslye Headland – keeps things relatively light, humorous and, at times, even emotionally stirring.
About Last Night manages to put its own spin of realism and good-natured humour on the forever-entertaining, battle-of-the-sexes; forgettable yet extremely engaging, the dialogue, along with the cast's biting chemistry could easily set this as the best date-movie of the year, thus far.
Created and directed by award-winning animators, Helene Giraud and Thomas Szabo – and based on a popular French animated television series – Minuscule: Valley of the Lost Ants is a story of friendship and courage told entirely without words.
Set in the diminutive world of insects, the film opens with a sprawling and sun-drenched forest landscape setting, where wildlife is at peace.
After witnessing the birth of ladybug triplets, their very-first flying lesson and the ill-fated separation of the youngest offspring, the story brings its focus on an abandoned picnic, left behind by a live-action couple.
It doesn’t take long before a group of animated black ants move in, delighted to get their hands on a tin box of sugar cubes. However, before they can whizz off back to their colony with their newly-found treasure, they discover a ladybug trapped in the box.
Intrigued and fascinated by their discovery, the black ants quickly make friends with the little bug, who – as they will soon learn – is set to play an important role in their quest; their plan is intermitted by an army of evil red ants, who just like everyone else, wish to get their hands on the sugary fortune.
Unlike the more flashy and boisterous Hollywood animated, Minuscule takes a whole different approach to the matter. Simple, undemanding and dialogue-free, with no star-studded cast to fill the void, the story celebrates wildlife, relishing in the glorious beauty of Mother Nature.
Shot in 3D, the visuals are wonderful, but never overbearing. Everything from the cleverly-constructed creepy-crawlies, their boggy eyes and their indistinguishable voices, to the picturesque dense-forest scenery, makes the film a truly unique, unforgettable experience.
Playful and entertaining, Minuscule: Valley of the Lost Ants offers a terrific insight into the world of these hard-working and untiring little soldiers, who – not unlike humans – have their own barriers to cross and battles to conqueror.