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Oct 21, 2024 |
outtakemag.co.uk | James Hanton
DreamWorks has turned thirty years old this year. During that time, the studio has treated audiences to some of modern animation’s most successful and acclaimed titles, from the 3D spectacles of Shrek and How to Train Your Dragon to deeply moving 2D works of art like The Prince of Egypt and Spirit. The Wild Robot, from DreamWorks and Disney veteran Chris Sanders, blends the best ingredients DreamWorks has to offer.
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Aug 19, 2024 |
outtakemag.co.uk | James Hanton
Does an honest life mean a good life? This central dilemma plagues Nima (Nima Sadr) throughout A Shrine, the new film by Iranian director Abdolreza Kahani. The award-winning filmmaker’s latest picture sees him take an experimental approach, filming in a technically minimalist style to produce a comedy-drama rife with contradiction and pathos. A Shrine is a sensitive and intimate portrayal of the struggle to serve others while also serving yourself.
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Aug 19, 2024 |
outtakemag.co.uk | James Hanton
Life can change in the blink of an eye. One moment, you are ready to end it all. The next, you have been whisked away on a road trip by a gigantic monkey who cracks wise and insists they are going to start a business. All the while you have a crazed old man on a bicycle hunting you down relentlessly. It all sounds, to put it bluntly, very peculiar. But comedian and ventriloquist Nina Conti specialises in weird.
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Aug 19, 2024 |
outtakemag.co.uk | James Hanton
When you think of portrayals of addiction in Scottish cinema, your mind may wander to the likes of James Reid’s Limbo (2024), Ken Loach’s My Name is Joe (1998), and of course Danny Boyle’s Trainspotting (1996). The Outrun, Nora Fingscheidt’s adaptation of the 2016 memoir by Amy Liptrot, is the latest film to explore this difficult issue.
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Aug 7, 2024 |
outtakemag.co.uk | James Hanton
“Orlando had become a woman […] though it altered their future, [it] did nothing whatever to alter their identity… but in future we must, for convention’s sake, say ‘her’ for ‘his’ and ‘she’ for ‘he’.” So reads a famous passage from Virginia Woolf’s Orlando: A Biography, one of the English novelists most well-known novels and which itself was made into a film starring Tilda Swinton in 1992.
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