Giveaway: Win Double Passes to The Snowman [COMPLETED]
Thanks to Universal Pictures Australia, ccpopculture has 5 double passes to give away to The Snowman, releasing in Australian cinemas Thursday October 19th.
Gone Girl (2014)
As a long-time David Fincher devotee, the first half hour of Gone Girl represents the first time I’ve doubted the director (full disclosure: I’ve never seen Benjamin Button). The film intercuts between Nick Dunne – writer, bar-owner, Ben Affleck – and his wife Amy – writer, actual-owner-of-the-bar, Rosamund Pike – through the past and present.…
The Keeper of Lost Causes (2013)
Is there anything more reliable in cinema than the crime drama? We have our middle-aged, grizzled police officer. He chain-smokes, drinks heavily, and seems to send his shirts to be custom-ruffled daily. He doesn’t get along with people – he’s taciturn, gruff, and so forth – but, dammit, he gets results. You will be shocked…
Prisoners (2013)
On paper, Prisoners seems like its destined to be forgotten as yet another unremarkable thriller. The film concerns the abduction of two young girls and focuses its attention on two men searching for them; Hugh Jackman as Keller Dover – zealous carpenter and father of one of the girls – and Jake Gyllenhaal as Detective…
Awards Roundup – Family, Liebster, Sunshine Awards
(Note: this post does not follow the normal 200-word word limit of this blog) First up – I’ve been pretty slack when it comes to posting these awards. This is mostly because I’m still venturing my way into the blogosphere (if that’s even a word), and partly because it was basically impossible to do an…
Wrong Turn (2003)
Wrong Turn begins with a tense, understated mountain climbing scene, competently shot and edited. It’s an encouraging start. The credits are comparatively lazy, using a Se7en-esque sequence to flash a bunch of silly exposition – shots of headlines with “Inbred-induced psychosis” etcetera. Yes, it’s one of those: another hillbilly horror film. Wrong Turn is populated…
The Last House on the Left (1972)
A horror “classic,” starting Wes Craven’s career, The Last House on the Left is not, by any stretch of the imagination, a good film. The cinematography and editing can be generously described as amateurish, the screenplay (a loose reinterpretation of The Virgin Spring) decides that the best thing to play against a harrowing rape/murder sequence…
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