‘Children of Men’ Review: Searching for Hope in the Darkest of Times


When talking about the greatest science fiction films of the 21st century, for me only one film comes to mind when talking about the very best of such and that film is none other than Alfonso Cuarón’s Children of Men. Although its setting into the future may not have exactly predicted the turn of events in our world to come, there’s still something scary about the fact that we as a species have come so dangerously close to approaching the chaotic world that Children of Men shows us especially if the political climate only ever encourages such mayhem. Worth noting is the fact that Children of Men had barely made enough money to recoup its budget back when it came out, only being reflective of what it feels to be ignored when a message so important needs to find its way to get out. You’ll only watch a film like this wondering how come it actually happens to be so prescient, but at the same time you’d never want any of this to feel like it could become our own reality. You don’t ever want to see something like this happening, and you can continue telling yourself that it won’t ever become the truth, but that’s what makes Children of Men stick its landing so beautifully.

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‘Triple Frontier’ Review: J. C. Chandor’s Most Expensive Film Bites More than It Can Chew


J. C. Chandor’s filmography has only been shifting in scale in some sense but maybe not always to the most consistent of results. His fourth feature, being his first one in five years since A Most Violent Year happens to be his most expensive project yet, sadly also happens to be his worst feature to date. With how much Margin Call and All is Lost have managed to accomplish with what little they had around them, and despite A Most Violent Year showing promise for Chandor to go for much bigger projects, it seems like the increasing scale may also have gotten the worst of him too. Triple Frontier if anything seems so much more like a film that’s overwhelmed by its incredible scale rather than one that is able to work properly within what’s been given to Chandor, but there’s almost no control over what it is that he wants to show us here – so much to the point it even makes its more dramatic moments feel as if they’re not even capable of carrying any weight.

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The Lost City of Z – Review


James Gray’s films have always been a struggle for me to get into, so The Lost City of Z wasn’t one I was looking forward to so readily. The sort of material that Gray was set to cover in here wasn’t something I would have expected of him so I was hoping my issues with his body of work would be infrequent here. Thankfully it was the case with The Lost City of Z and as a result, a great film had come right out. For not only is The Lost City of Z the most ambitious that I have seen James Gray reaching through his career as of yet from what I have been able to catch, it also rings back to a classic era of adventure films with its own eerie spin – one if anything that helped in making a great theatrical experience inside of itself, and maybe more.

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