SIDE BY SIDE is a fascinating new documentary, featuring interviews led by Keanu Reeves, looking at the rise of digital technology in filmmaking. Jim Ross spoke to director Chris Kenneally about the film and the discussion it highlights.
Steven Spielberg’s LINCOLN is as remarkable for what it doesn’t do as what it actually puts on screen – a window on the life of a determined historic figure and a fascinating period in American history, writes Jim Ross.
Despite some annoyingly blunt and simplistic narrative elements, Ang Lee’s LIFE OF PI is the work of a master visual storyteller, writes Jim Ross.
Although SEVEN PSYCHOPATHS never hits the heights of IN BRUGES, and isn’t as clever as it purports to be, McDonagh offers a bundle of meta-movie laughs, writes Jim Ross.
SKYFALL delivered a Bond for the 21st century, post-Bourne era. But does it represent an unwillingness to let the characters and films evolve? What do we even want from James Bond?
THE MASTER is a sprawling and wonderful film, with terrific performances in front of and behind the camera. Although a landmark in Paul Thomas Anderson’s career, it maybe doesn’t come together as it should, writes Jim Ross.
ARGO is a well-handled spy drama with some Hollywood satire thrown in, and an engaging true story despite succumbing to silly contrivances and excessive dramatic licence at the end, writes Jim Ross
A universal tale of aspiration in the face of adversity is given fresh impetus and local nuances in Tosh Gitonga’s drama – the opening film of Film Africa and CAFF2012, writes Jim Ross
Although it works as the surface package of fantasy rom-com, RUBY SPARKS has a subversive tone and some sharp satirical bite, writes Jim Ross.
Despite the warmth generated by the leads, UNTOUCHABLE is an asinine and cloying film full of cliches and irritating stereotypes, writes Jim Ross.
