Set in a post-apocalyptic future, O’Dessa is an original rock opera about a farm girl (Sadie Sink) on an epic quest to recover a cherished family heirloom. Her journey leads her to a strange and dangerous city where she meets her one true love – but in order to save his soul, she must put…
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Whilst his previous film – 2017’s crowd-pleasing Patti Cake$ – had a scrappiness to it, it beamed with a personality larger than its budget. For O’Dessa, director Geremy Jasper delights in supreme maximalism, as his post-apocalyptic musical-romance hybrid projects its bigness through both its visuals and its central thematic of how love can transform one’s…
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A historical figure whose achievements are all the more remarkable due to the obstacles faced as the son of a white father and black mother, Joseph Bologne, Chevalier de Saint-Georges, is highlighted, but not quite as richly celebrated in Stephen Williams‘s Chevalier. And given the extraordinary details of his life story, it’s a shame that…
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A historical figure whose achievements are all the more remarkable due to the obstacles faced as the son of a white father and black mother, Joseph Bologne, Chevalier de Saint-Georges, is highlighted, but not quite as richly celebrated in Stephen Williams‘s Chevalier. And given the extraordinary details of his life story, it’s a shame that…
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Reimagining another literary masterpiece, as he did with both Pride & Prejudice and Anna Karenina (and, to a lesser extent, the ambitious but much maligned Pan), Joe Wright‘s interpretation of Edmond Rostand‘s 1897 play Cyrano de Bergerac is a suitably lush affair that manages to reinvigorate a tried and true story, one that we have…
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Joe Wright is no stranger to a period piece, having adapted the literary dramas Pride & Prejudice and Anna Karenina, the acclaimed romantic war tale Atonement, and the Oscar-winning political drama Darkest Hour. So, there’s really no one more suited to adapting Edmond Rostand’s classic 1897 play Cyrano de Bergerac. Based upon the 2018 stage…
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Despite this year’s Oscars honouring one of 2019’s more diverse offerings (Bong Joon-ho’s Korean black comedy/thriller Parasite), the whitewashing of the event was overwhelming. In a cinematic year where actors of colour delivered universally-praised performances (see Lupita Nyong’o in Us, Awkwafina in The Farewell, and Jennifer Lopez in Hustlers, for a start), it was disappointing that…
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