Articles
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6 days ago |
msn.com | Peter Bradshaw |Stuart Heritage |Phil Hoad |Anne Billson |Laura Snapes |Lucy Knight | +6 more
Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.
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6 days ago |
theguardian.com | Peter Bradshaw |Stuart Heritage |Phil Hoad |Anne Billson |Laura Snapes |Lucy Knight | +6 more
Archie Leach makes an appearanceOne of Hollywood’s most durable Easter eggs debuted in Howard Hawks’s His Girl Friday (1940) when Cary Grant’s character says: “The last man who said that to me was Archie Leach just a week before he cut his throat!” And in Arsenic and Old Lace (1944) his character sits pensively in a cemetery where Archie Leach’s gravestone is to be seen. In Charles Crichton’s A Fish Called Wanda (1988), John Cleese’s character is called Archie Leach.
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1 week ago |
theguardian.com | Phil Hoad
Kaiju, as Japanophiles will know, are Godzilla-style giant monsters that double up as A-bomb and/or natural disaster metaphors, and Naoya Matsumoto’s YA spin is a smart addition to the outsized genre. This film is an omnibus recap of the 2024 TV anime’s first season, directed by Tomomi Kamiya and Shigeyuki Miya, and tacking on a new 20-minute episode.
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2 weeks ago |
msn.com | Phil Hoad
Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.
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2 weeks ago |
theguardian.com | Phil Hoad
Maybe it’s because of a sense that we are expendable parts in the great capitalist machine, that the endlessly repeating death trope has been increasingly respawning in movies – from Edge of Tomorrow to Mickey 17 and now this Canadian sword’n’sorcery caper. With its sisyphean vibe and implacable mood, it also owes a fair bit to the Dark Souls video games; though it’s not a masterpiece on that level, it nevertheless has a grim self-conviction that grips despite its low-budget limitations.
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