Bones and All is a story of first love between Maren (Russell), a young woman learning how to survive on the margins of society, and Lee (Chalamet), an intense and disenfranchised drifter, as they meet and join together for a thousand-mile odyssey which takes them through the back roads, hidden passages, and trap doors of Ronald Reagan’s America. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness.

Directed by Luca Guadagnino and written by his longtime collaborator David Kajganich (Suspiria, A Bigger Splash), the pic is adapted from the Camille DeAngelis novel and stars Timothée Chalamet, Taylor Russell, Mark Rylance, André Holland, Jessica Harper, Michael Stuhlbarg, David Gordon-Green, Francesca Scorsese and Chloë Sevigny. Bones and All is only in Cinemas November 24.
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In this context, he build tension in a masterful way. The film features very little dialogue and Hans Zimmer’s score is a major player in the film’s tone and emotional impact. The tension is fierce and relentless and never loosens its grip throughout the 106 minute running time.

The horror of war is never far from view but it isn’t presented in an overly graphic or bloody way. This approach adds even more to the film’s impact because it doesn’t distance the viewer with the off putting gore and carnage that becomes most war film’s stock and trade.

There are moments of great intensity in both film score and sound effects volume with the howl of planes diving and the discharge of armaments. There is also the beauty and inspiration shown deeply in moments of human resolve. This work vividly validates Nolan’s place among the all time greats.

Rob Hudson
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Based in the murky waters of the shadowy world of espionage back in the late fifties, the film does an admirable job of keeping the audience in the know. There was such a litany of enemies (both real and perceived) of the American way of life presented back then that the story could have easily diffused into myopic rubbish. It steers mostly clear of easy slogans.

Hanks plays super hostage negotiator James B. Donovan as he tries to trade a Russia spy to secure the release of Gary Powers, the pilot whose U-2 spy plane was shot down over the Soviet Union. It’s to Donovan integrity and force of will that he also secures the release of an American student caught in the cross hairs during the erection of the Berlin wall between the East and West.

Director Steven Spielberg keeps his proclivity for emotional overstatement to a minimum and takes full advantage of a sharp screenplay by Matt Charman and the brothers Coen, Ethan and Joel. The film holds your attention and keeps you on the edge of your seat until its conclusion.

Rob Hudson
www.facebook.com/20thCenturyStudiosAUNZ

The film is set in 2045, with the world on the brink of chaos and collapse. But the people have found salvation in the OASIS, an expansive virtual reality universe created by the brilliant and eccentric James Halliday. When Halliday dies, he leaves his immense fortune to the first person to find a digital Easter egg he has hidden somewhere in the OASIS, sparking a contest that grips the entire world. When an unlikely young hero named Wade Watts decides to join the contest, he is hurled into a breakneck, reality-bending treasure hunt through a fantastical universe of mystery, discovery and danger.

READY PLAYER ONE is directed by Steven Spielberg and stars Tye Sheridan, Olivia Cooke, Ben Mendelsohn and T.J. Miller, with Simon Pegg and Oscar winner Mark Rylance.

READY PLAYER ONE releases in Australian cinemas on March 29, 2018!
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In this context, he build tension in a masterful way. The film features very little dialogue and Hans Zimmer’s score is a major player in the film’s tone and emotional impact. The tension is fierce and relentless and never loosens its grip throughout the 106 minute running time.

The horror of war is never far from view but it isn’t presented in an overly graphic or bloody way. This approach adds even more to the film’s impact because it doesn’t distance the viewer with the off putting gore and carnage that becomes most war film’s stock and trade.

There are moments of great intensity in both film score and sound effects volume with the howl of planes diving and the discharge of armaments. There is also the beauty and inspiration shown deeply in moments of human resolve. This work vividly validates Nolan’s place among the all time greats.

Rob Hudson
www.dunkirkmovie.com

Dunkirk tells the story of the amazing evacuation of Allied soldiers from Belgium, the British Empire, Canada, and France, who were cut off and surrounded by the German army from the beaches and harbor of Dunkirk, France, between May 26- June 04, 1940, during Battle of France in World War II.

“Dunkirk” opens as hundreds of thousands of British and Allied troops are surrounded by enemy forces. Trapped on the beach with their backs to the sea they face an impossible situation as the enemy closes in.

Nolan directed “Dunkirk” from his own original screenplay, utilizing a mixture of IMAX® and 65mm film to bring the story to the screen.

“Dunkirk” features a prestigious cast, including Tom Hardy (“The Revenant,” “Mad Max: Fury Road,” “Inception”), Mark Rylance (“Bridge of Spies,” “Wolf Hall”), Kenneth Branagh (“My Week with Marilyn,” “Hamlet,” “Henry V”) and Cillian Murphy (“Inception,” “The Dark Knight” Trilogy), as well as newcomer Fionn Whitehead. The ensemble cast also includes Aneurin Barnard, Harry Styles, James D’Arcy, Jack Lowden, Barry Keoghan and Tom Glynn-Carney.

The film is being produced by Nolan and Emma Thomas (“Interstellar,” “Inception,” “The Dark Knight” Trilogy). Jake Myers (“The Revenant,” “Interstellar,” “Jack Reacher”) is serving as executive producer.

The behind-the-scenes creative team includes director of photography Hoyte van Hoytema (“Interstellar,” “Spectre,” “The Fighter”), production designer Nathan Crowley (“Interstellar,” “The Dark Knight” Trilogy), editor Lee Smith (“The Dark Knight” Trilogy, “Elysium”), costume designer Jeffrey Kurland (“Inception,” “Bullets Over Broadway”), and visual effects supervisor Andrew Jackson (“Mad Max: Fury Road”).
www.dunkirkmovie.com

My only experience of a ‘BFG’ was the BFG9000, a weapon found in the Doom and Quake video games using an acronym that implied words that ought not be uttered by a child. Given Roald Dahl’s twisted mind, I would be unsurprised to learn that he was well aware of this possible interpretation when he released his book about a ‘Big Friendly Giant’ in 1982.

An animated TV version of The BFG was released in the late 80’s but this time around Steven Spielberg has turned his acumen to a live action version starring the remarkable Ruby Barnhill as orphan child, Sophie, who befriends the ‘BFG’, a motion captured computer generated Mark Rylance.

Given his sterling performance in Bridge of Spies, Rylance appears to be becoming a male muse, of sorts, to Spielberg and understandably so. His performance in The BFG is as measured and understated as Spielberg’s prior spy biopic. Newcomer, Ruby Barnhill, is also a revelation, displaying a manner of non-precocious confidence and sass rarely found in a child actor.

Spielberg has produced a film that, while set in the early eighties, drips with Dickensian charm. It’s an old-fashioned kind of movie that is rarely made these days. Its soft, warm, studio-shot look comforts the viewer and harks of family movies made in the 60’s and 70’s. It’s a gentle reprieve from the harsh reality penchant of modern cinema.

The detail in the CGI giants is very very good. The close ups of skin tones and textures is amazing. Equally amazing is that, as good as the CGI is, it still looks like CGI. While we would consider this CGI to be ‘photographic’, it’s clear we still have some way to go before it is truly photographic. This is neither here nor there as it relates to the story, however. When the chips are down, story matters, CGI doesn’t. But nonetheless, the computer imagery here is cutting edge.

The BFG is worthwhile entertainment and not just for kids. Adults and children alike will be swept away by this Spielberg/Dahl fantasy that is cute, charming and contains one of the best fart jokes in recent memory.

Stuart Jamieson
www.movies.disney.com.au/the-bfg