'...a vehicle for comedy and for showing character flaws...' This dark comedy was filmed in 33 days on a relatively small budget, released in late 2017 in the US and had a world release in January 2018. It has already picked up numerous awards. This doesn’t automatically qualify it as a great film, but to … Continue reading The Two Reviews: Three Billboards outside Ebbing, Missouri (2017 Martin McDonagh)
Murder on the Orient Express (Director, Kenneth Branagh. Featuring Kenneth Branagh, Judi Dench, Johnny Depp, Michelle Pfeiffer, Willem Dafoe, Daisy Ridley, Penelope Cruz, Lesley Odom, Derek Jacobi and Sergei Polunin) Everyone is on the same train i.e. The Orient Express. There is a murder most hideous and everyone is a suspect. I enjoyed this movie … Continue reading The Two Reviews: Murder on the Orient Express and Loving Vincent
And so an end of the first year in the life of Momentary Cinema has been reached. It has been a pleasant and enjoyable experience working on this film blog and I am gratified that it has reached many people across the world - comments about the blog and its contents from people I know … Continue reading Momentary Cinema’s First Year: A Re-Glance
This is the third and last in a series of posts on the filmmaking of Alfred Hitchcock (1899-1980): one of the greatest directors of all time. These posts are authored by Robin Stevens, JJ McDermott and Alan Matthews, and the idea is for each part to take a selection of Hitchcock’s films and analyze them … Continue reading Exploring Hitchcock Part 3: Don’t read this! – Vertigo and Psycho
This is the second in a series of posts on the filmmaking of Alfred Hitchcock (1899-1980): one of the greatest directors of all time. These posts are authored by Robin Stevens, JJ McDermott and Alan Matthews, and the idea is for each part to take a selection of Hitchcock’s films and analyze them in detail. … Continue reading Exploring Hitchcock Part 2: The Early Masterpieces and his (not so) Grand Finale
‘…a horror flick with over-tones of the Gothic, surreal and a touch of chaotic ludicrousness …’ Aronofsky’s Mother! is on the surface a film about the worst house guests in history, and as such is shot as a horror flick with over-tones of the Gothic, surreal and a touch of chaotic ludicrousness. But this film … Continue reading The Two Reviews: Mother! (2017 Darren Aronofsky)
Blade Runner (1982) didn’t need a sequel. A previous post on this very blog was dedicated to that subject. However, if you absolutely positively have to have a sequel for a film which doesn’t require one, then pray to the movie gods that the sequel is as good as Blade Runner 2049. After all, Alien … Continue reading The Future’s So Bright, I Gotta Wear 3D Glasses – Blade Runner 2049 Review
“…reducing the film and its central narrative to esoteric wankiness…” For many cinema goers, expectations for this greatly anticipated sequel to Blade Runner were high. Then again, I am one of those who never believed it was going to match the original. And it doesn’t. But it is not a complete write-off either. The cinema-photography … Continue reading The Two Reviews: Blade Runner 2049 (2017 Denis Villeneuve)
This is the first in a series of posts on the filmmaking of Alfred Hitchcock (1899-1980), one of the greatest directors of all time. These posts will be authored by Robin Stevens, JJ McDermott and Alan Matthews, and the idea is for each part to take a selection of Hitchcock’s films and analyze them in … Continue reading Exploring Hitchcock Part 1: A Deeper Look at Rebecca, Rear Window and The Birds
There are certain rules known only to a select few by which it is possible to predict the quality of movies. The origin of these rules is often obscure and difficult to explain. One, which has entered common thought, is Rule 21: "The 'Director’s Cut' is always the best version of the movie, except when … Continue reading Rule 21: The ‘Director’s Cut’ is Always the Best Version of the Movie, Except When it isn’t
Momentary Cinema 