Director Kenneth Branagh attempts to reintroduce famed 20th century English mystery writer Agatha Christie’s best-selling 1934 mystery novel, “Murder on the Orient Express,” but his stubbornness to cling onto the last speck of cinematic nostalgia hurts the film in the long run.
When director Darren Aronofsky, a documented atheist, was hired to direct and co-write a big-budget adaptation of the tale of Noah’s Ark, there was a huge backlash. In an open quote, Aronofsky stated that “Noah” would be “the least biblical film ever made,” which is ironic considering it is one of the best to come out in a long time.
“300: Rise of an Empire” is probably one of the strangest approaches to sequel making to come out of Hollywood in some time. Serving both as a prequel, sequel and a side story to the original movie, it also seems to take everything the original film stands for and out right parodies it. This is not to say that “300: Rise of an Empire” is a good film, it is a completely mind-numbingly stupid action flick, but it is better then it has any right to be.
For his final film, legendary animator Hayao Miyazaki and his animation studio, Studio Ghibli, have decided to favor reality. Building off of a career of wandering princesses, a hotel for wood spirits and a dancing Totoro, Miyazaki could have entered retirement with one last imaginative vision, but instead his swan song dances between the creative and haunted legacy of World War II.
World War Two has plenty of stories for us to learn about as viewers. Though historically accurate, compelling and riveting, “The Monuments Men” did not do the story justice. For the dramatic plot of taking back stolen art from Nazi Germany, it was expected that the film would either stay focused on being a drama, or avoid hard-hitting subjects and remain a comedy.