Out to own today:
The Railway Man
“At the beginning of time the clock struck one
Then dropped the dew and the clock struck two
From the dew grew a tree and the clock struck three
The tree made a door and the clock struck four
Man came alive and the clock struck five
Count not, waste not the years on the clock
Behold I stand at the door and knock,” Eric Lomax (Colin Firth)
And so opens THE RAILWAY MAN, Firth lying distressed on a carpet reciting; reminding of his part in A SINGLE MAN. Based on a true story, we are then suddenly taken to Berwick-Upon-Tweed, England in 1980. Was what we witnessed in the past, or going forward are we now in a flashback? There is a boldness to the narrative structure, three distinct parts. The first shift sudden and unexpected, surely, the holy grail of cinema. In a veterans club, middle-aged men sit quietly nursing pints of beer, when Eric breaks the silence with a story. His fellow patrons turn to him and listen fixedly. [To read more, click here.]
Then dropped the dew and the clock struck two
From the dew grew a tree and the clock struck three
The tree made a door and the clock struck four
Man came alive and the clock struck five
Count not, waste not the years on the clock
Behold I stand at the door and knock,” Eric Lomax (Colin Firth)
And so opens THE RAILWAY MAN, Firth lying distressed on a carpet reciting; reminding of his part in A SINGLE MAN. Based on a true story, we are then suddenly taken to Berwick-Upon-Tweed, England in 1980. Was what we witnessed in the past, or going forward are we now in a flashback? There is a boldness to the narrative structure, three distinct parts. The first shift sudden and unexpected, surely, the holy grail of cinema. In a veterans club, middle-aged men sit quietly nursing pints of beer, when Eric breaks the silence with a story. His fellow patrons turn to him and listen fixedly. [To read more, click here.]
Like Father, Like Son
“I hope it’s nothing messy,” Ryota Nonomiya (Masaharu Fukuyama)
Anyone who caught writer-director Hirokazu Koreeda’s previous project, I WISH – a magnificent film about childhood, must have been anticipating his next. Broadening his scope, LIKE FATHER, LIKE SON is a moving exploration of two disparate families finding themselves inextricably entwined. The situation is unusual to say the least, but is used to consider the nature versus nurture debate, and who we might be as parents. [To read more, click here.]
Anyone who caught writer-director Hirokazu Koreeda’s previous project, I WISH – a magnificent film about childhood, must have been anticipating his next. Broadening his scope, LIKE FATHER, LIKE SON is a moving exploration of two disparate families finding themselves inextricably entwined. The situation is unusual to say the least, but is used to consider the nature versus nurture debate, and who we might be as parents. [To read more, click here.]
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