Oppenheimer
There are no more significant potential ramifications than the end of the world, and that awful looming mushroom cloud haunts every frame of OPPENHEIMER’s tense and emotionally violent portrait.
There are no more significant potential ramifications than the end of the world, and that awful looming mushroom cloud haunts every frame of OPPENHEIMER’s tense and emotionally violent portrait.
TENET ends up something of a Rube Goldberg machine of a film: a wondrously complex set of mechanics that is fascinating, but also an incredibly convoluted way of masking what is, in essence, a thin and poorly executed story.
An invigorating chance to see an artistic and emotion-driven creative process at work, writes Katie Duggan.
Edd Elliott tries to unravel the immensity of INTERSTELLAR and its universe.
The release of MAN OF STEEL coincides with the 75th anniversary of Superman, the world’s most iconic superhero. Warners is betting heavily this time that they got it right, writes Wyndham Wise.
SIDE BY SIDE is a fascinating and insightful look at the debates raging in the creative process as the digital revolution continues to evolve, writes Jim Ross.
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.
In the two film franchises he has starred in so far, the Batman has been at his most popular, and best, when literally and figuratively shrouded in darkness. Gavin Midgley looks back at the big black bat.
THE DARK KNIGHT RISES stumbles in places, but draws on the themes of its predecessors in a gratifying way to deliver a spectacular and emotional finale, says Jim Ross
Ahead of THE DARK KNIGHT RISES, Jim Ross takes a look the influence of Christopher Nolan’s MEMENTO – a film that has pervaded his work from INCEPTION to THE DARK KNIGHT