John of Best Movies by Farr recommends Francois Truffaut's "Shoot the Piano Player" as part of a month long tribute to this great French director. Based on the novel by David Goodis, "Player" is a brilliant tribute to film noir and the French New Wave.
The second installment of John Farr's tribute to David Niven's centennial this March is "Separate Tables" a story about lonely lost souls whose separate lives intersect in an English seaside inn.
To close out our March celebration of David Niven, John recommends "The Pink Panther," the classic Blake Edwards romp starring Peter Sellers, Robert Wagner and Capucine.
June is Rosalind Russell's birthday month and John Farr salutes this wonderful actress with "The Women," a far better female romp than "Sex in the City 2."
This December, John remember Lee Remick and worries that move watchers have forgotten this beautiful, talented actress who died at a young age - but not before turning in some outstanding performances like the one in Anatomy of a Murder.
Charles Horman disappears while covering political persecution in Chile. His father Ed (Lemmon) travels there to locate him with the help of wife Beth (Spacek), who knows much more than Ed about real conditions and practices there.
Studio executive Griffin Mill (Robbins) cushy life begins to unravel, when he starts receiving anonymous death threats. Spooked and frustrated by the harassment which leads him to the brink of ruination.
Sad-sack, chronically self-doubting Hollywood screenwriter Charlie Kaufman (Cage) is hired to script "The Orchid Thief", written by New Yorker scribe Susan Orlean (Streep). Kaufman becomes increasingly stressed and unhinged in his approach.
Rupert Sander´s film is a cutting-edge motion picture in view of an adored manga and anime series.
But where the new movie deviates from the anime base is where it delights the newcomers to the series.
Secret government agent Xander Cage (Vin Diesel) leaves his deliberate reclusion, thought to be long dead after have been killed on a mission by his adversaries.
Selecting an all-new gathering of associates, his agency is determined to crash course with fatal warrior Xiang (Donnie Yen) and his group in a race to recuperate a vile and relentless weapon known as Pandora's Box, capable of controlling military satellites around the planet.
This picture has its imperfections—which incorporates in the minor characters and a bewildering inability to build up the dutiful dimension laid out ahead of schedule in the script, aside from as how it identifies a few details with science, like, just terraforming officer Daniels (Waterston) sees that there are no winged creatures or creature screeches.
The movie is marginally speedier and noisier in the way Scott handles the unknown incursions in this planet compared to Prometheus, but they're not as spooky as they were in the first movie. The visual reference to Alien in Covenant feels kind of constrained. In any case, it is firmly its own particular instinct, it's aspiring to a level that is common but dangerous for a film series so huge.
“Covenant” is set ten years after the incidents of "Prometheus" and is an immediate extension of it, trying to overcome any issues between that film and the first.
Its role ranges not so much into science but rather more into a dream-like moment, making use of a considerable measure of clever variety, most spinning around Fassbender's character accomplishment.
Its story is refreshingly unique in relation to its DC peers. The activity bounces to London and after that to the trenches of Belgium, where the War to End All Wars trudges relentlessly on. We are transported to a courageous woman's prior life.
While the genuine foe of the film is war, its numerous revulsions, and how it taints. Diana makes the convincing passionate center of a movie that shows how Wonder Woman came to be the warrior for peace we know.