Perhaps some things never change. . . and by that, I mean guys being idiots. A dark thriller about an aging man’s deep-seated flaws, Simon Birrell writes and directs under the guidance of longtime exploitative horror filmmaker José Ramon Larraz; His Last Request (2005) a twenty-seven minute short delving into the depths of a warped human being’s psyche. . . and the problems he himself has wrought. Shot as a silent film and in ominous black and white (I know what you’re thinking – how avant-garde), Spanish horror legend Jack Taylor plays the father. . . a man, who after years of multiple marriages, philandering, and god knows what else (he has cameras watching his entire apartment – likely not for security reasons), is now permanently relegated to a wheelchair (that is, if he wants to move around – otherwise, he is bedridden). Losing more money through alimony than an overzealous sailor fresh off the ship, his lawyer (Ramón Rados) is trying to get his papers in order before he runs out of money, or dies. . . it is a toss-up as to which might happen first.

Like a copycat killer, it is somehow unusual and rather suspicious that anytime a good film idea hits production, it seems like there is another similar project coming down the pipeline. . . sometimes referred to as ‘twin films’, countless examples exist – White House Down and Olympus Has Fallen, Hitchcock and The Girl, The Prestige and The Illusionist, Friends With Benefits and No Strings Attached, Darkest Hour and Churchill, The Descent and The Cave (anyways, you get the idea). Another intriguing example finds the horror classic Don’t Look Now having a doppelganger in the 1972 Aldo Lado directed giallo Who Saw Her Die? – though don’t jump to conclusions as to which one is the knock-off. Released a year prior to the 1973 feature, Who Saw Her Die? also finds itself set in the eerily beautiful city of Venice, where a couple is dealing with the death of their child. With numerous similarities, like a water-set funeral and an intimate sex scene, and though the set up and settings are similar, in many ways, they are separate entities.

Pairing up two of the most iconic actors of this generation. . . no, I am not talking about Leonardo DiCaprio and Brad Pitt. . . Matt Damon and Christian Bale work together for the first time in the 2019 Best Picture nominee Ford v Ferrari, directed by James Mangold (Logan; Walk the Line). An historical event that I’ve somehow never heard of before, this ‘based on a true story’ tale is set in 1966, and the times, they are a changing. A little over twenty years after the end of World War 2, a whole new generation was born when the soldiers returned home in 1945. . . these now teenagers/early 20 somethings (with more money than any other grouping that came before), are yearning for a new type of car (not their father’s automobile).

Predicted winners, who should win, and my favourites from this year's Oscars (the 92nd Academy Awards). Catch up on all the buzz before the big event.

There are always a few films every year that seem to tap into the present zeitgeist (a window into prevailing spirit and mood of the time). . . one of 2019's is most definitely Bombshell, written by Charles Randolph (who won an Oscar for his Adapted Screenplay of The Big Short, along with Adam McKay), and directed by Jay Roach – who continues his seamless transition from comedy filmmaker to dramatic (this following his 2015 effort in Trumbo). Centred on three women working at Fox News in 2016, our quasi-narrator is Megyn Kelly (Charlize Theron in an Oscar nominated performance), who has just asked too liberal a question to Donald Trump at the 2016 Republican Debate (leading to backlash from its conservative viewership), newscaster Gretchen Carlson (Nicole Kidman), whose more liberal leaning slant has plateaued her career, and newbie Kayla Pospisil (Margot Robbie, also nominated for an Academy Award), who is trying to find an avenue that will get her on the air in some capacity. As you will probably recognize, Kelly and Carlson are real people, while the Pospisil character is an amalgam of many women (and not based on a specific real life person).

A guy walks into a bar; the bartender immediately recognizes that the patron is pissed off. Sliding the man a beer, he asks, “What’s ailing you?”, to which he replies, with a loud, booming voice, “ALL LAWYERS ARE ASSHOLES!!!”. There is only one other person in the establishment, someone sitting at the other end of the bar. . . his ears perking up, he immediately shouts, “I take offence to that.” Taken aback, the new patron asks, “Are you a lawyer?”, to which he concludes, “No, I’m an asshole”. All joking aside, lawyers, despite not being the main players in writer/director Noah Baumbach’s 2019 Academy Award Best Picture nominee Marriage Story, play an integral part in the piece. Following Charlie (Adam Driver) and Nicole (Scarlett Johansson), their so called marriage story is quickly becoming a separation and divorce story. Living in New York, Charlie is a renowned theatre company owner and playwright (by no means rich, but respected), his wife his actress muse. . . an edgy Hollywood teen actress that has transitioned to respected stage performer. With a young son, Henry (Azhy Robertson), their marriage has run its course. . . Nicole returning home to California (with their son) to film a pilot for a new series, Charlie must balance his hectic life, attempting to run his troupe while racking up frequent flyer miles to visit his son.