Kinnemaniac

In Cinemas

Adventures In Cinema: October 2014

October 17, 2014 by Simon Kinnear in In Cinemas with 0 Comments

1 Maps To The Stars

Continuing Kinnemaniac’s new regular monthly column, offering short reviews of every new film seen at the cinema during any given month. This will be updated after every cinema visit for an ongoing summary of what’s worth seeing on the big-screen. See also January, February, March, April, May, June, July, August, September.

NOTE: I’ve seen a lot of films this month as part of London Film Festivals.  A separate page exists for LFF 2014 reviews.

Maps To The Stars

After Cosmopolis, it seems that David Cronenberg is working his way through Western institutions – banking, entertainment – and it’s shaping up to be a bold late-career assault. His Hollywood (bad) trip is the anti-Entourage, with the director’s dispassionate gaze never once seduced by the appalling behaviour of its characters. HIGHLIGHT: You know it’s coming, but when the trademark moment of Cronenberg violence arrives, it’s still an audience-silencing shock.

Seven Samurai

Possibly cinema’s definitive action movie, Akira Kurosawa’s classic combines the timelessness of a folk tale with the propulsion demanded by cinema.  No wonder filmmakers from John Sturges to Pixar have borrowed it wholesale. HIGHLIGHT:  The virtuoso battle sequences are justly renowned, but pay close attention to how the titular heroes run, at once muscular and balletic.

’71

Am ambitious but flawed attempt to weld a visceral chase thriller onto a thoughtful Troubles drama, Yann Demange’s film is surer on genre excitement than the ambiguous-to-the-point-of-opacity socio-political comment.  HIGHLIGHT: The disastrous military mission that sends Jack O’Connell’s grunt on the run is a brilliantly sustained exercise in tension and chaos.

Gone Girl

David Fincher stirs all the provocation he can muster into his cauldron of multiplex plot-twister and ‘gender war’ debate. Really, the joke is on all of those op-ed writers tying themselves in knots deciding whether the film is misogynistic.  HIGHLIGHT: Fincher’s formal control mostly restrains his desire for directorial showboating, so it’s doubly delightful when he gets to mess with our heads during the mid-film reveal.

 

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