Channeling the mesmeric movies churned out by the studio system back in the 1930s and 40s, Allied (2016), directed by Robert Zemeckis, channels the likes of Morocco, Casablanca, Across the Pacific, Gilda, To Have and Have Not, and numerous others – attempting to find a spark from the classic themes of melodrama, romance, suspense and the epic nature of the annals of the cinematic past, with quite successful results. Set the year Casablanca and Across the Pacific were released – 1942, the story in fact starts in Morocco, with recently parachuted in Canadian spy Max Vatan (Brad Pitt) meeting up with another undercover agent, Marianne Beauséjour (Marion Cotillard), who will be pretending to be his wife.
Channeling the mesmeric movies churned out by the studio system back in the 1930s and 40s, Allied (2016), directed by Robert Zemeckis, channels the likes of Morocco, Casablanca, Across the Pacific, Gilda, To Have and Have Not, and numerous others – attempting to find a spark from the classic themes of melodrama, romance, suspense and the epic nature of the annals of the cinematic past, with quite successful results. Set the year Casablanca and Across the Pacific were released – 1942, the story in fact starts in Morocco, with recently parachuted in Canadian spy Max Vatan (Brad Pitt) meeting up with another undercover agent, Marianne Beauséjour (Marion Cotillard), who will be pretending to be his wife.
The movie Roger Moore made directly before taking over the iconic role of James Bond for over a decade starting in 1973, The Man Who Haunted Himself (1970), co-adapted and directed by Basil Dearden from the novel “The Strange Case of Mr Pelham by Anthony Armstrong, is perhaps as un-Bond-like as possible (despite Moore uttering the quote above), which may be why the star also frequently suggested that this was his best film. Harold Pelham (Moore) is in a high stress position at a marine technology company – in which a merger is being pressured from an outside company, which, when combined with his rather awkward version of a stiff upper lip attitude, has left his marriage with Eve (Hildegarde Neil) rather cool and aloof.
This very well may be the shortest review I’ve ever written. Juror #2 (2024), Clint Eastwood’s most recent directorial effort (he also co-produces), very much leans on several legal dramas and thrillers from the past, most notably the classic 12 Angry Men, to great effect. Twisting the above mentioned film in clever fashion, in some ways, recovering alcoholic Justin Kemp (Nicholas Hoult) is a stand-in for Henry Fonda’s Juror #8, as he too stands up for the man being charged with murder... the only difference is, he soon realizes that he knows a bit more about the case than the rest of the jurors (and even he originally thought). Though this is not a twist filled feature (à la Usual Suspects), much of its entertainment comes from watching it unfurl as it goes along – hence why very little of the plot will be disclosed here. It is also worth noting that, unlike 12 Angry Men, screenwriter Jonathan A. Abrams opens the story wide, allowing us to hear testimony, explore the crime scene, and discover actual truths we never got to see in the 1957 motion picture.
Unlike most other memorable Hammer horror movies, the 1964 mystery thriller Nightmare, directed by Freddie Francis (perhaps better known as the cinematographer of films like David Lynch’s The Elephant Man and Martin Scorsese’s Cape Fear) eliminates all of the monsters for an old fashioned quasi ghost story... the piece deserving to be remembered up there with those Hammer horror films centered on vampires, resurrected corpses, and lycanthropes. Shot in shadowy black and white, the story follows struggling seventeen year old Janet (Jennie Linden), who is currently away from home living at a finishing school for girls.
In the same vein as other recent one man versus the world action films like Taken, The Equalizer, John Wick, and Nobody, 2024's The Beekeeper, directed by David Ayer, captures the same formula of stylish action combating rampant corruption that should appease fans of this style of flick. Following quiet man Adam Clay (Jason Statham), the retired gent spends all of his time as an apiarist – that is, a beekeeper. Renting space in a rural barn from a former teacher and avid charity worker, Eloise Parker (Phylicia Rashad), she is the first person to really show compassion and care for the reclusive renter.
An Indie sci-fi film on the precipice of where we might be heading, Creep Box, written and directed by Patrick Biesemans (and based upon his own short from 2022), ruminates on a hybrid artificial intelligence that is both intriguing and terrifying. Following Caul (Geoffrey Cantor), a PHD in psychology and parapsychology at HDTH Corp, he is currently working on a sleek black tech box... a device that can be used to collect the memories of the dead, which are then fused with an A.I. that can utilize the past of the deceased to not only communicate with loved ones, but also gather information that could lead to solving crimes of those who have been murdered.