Many big screen biographies are often accused of taking…liberties…with the facts, often to help the finished film’s pacing. After all, unless it’s a TV mini-series, it’s difficult to compress a remarkable life into an evening at the movies. Film makers will frequently switch the order of events along with the popular practice of using composite characters (a little bit of this fella’, and a bit of this old pal, and…), even inventing supporting roles, or tagging real folks with invented names. And then there are fantasy tales using a real person (and elements of his life) as the story’s heroic center. In Hollywood famous true Western outlaws like Billy the Kid and Jesse James were the leads in many fictional flicks (hey, those two “met” Dracula and Frankenstein’s daughter!). Those on the opposite side of the law like Wyatt Earp and Bat Masterson...
- 2/4/2016
- by Jim Batts
- WeAreMovieGeeks.com
Feature Aaron Birch 1 May 2014 - 06:33
Boss fights are almost always a game's highlight, but some are more challenging than others. Here's our top 25...
In the world of videogames bosses aren't the kind of authority figures that'll give you a last minute report to do, or delegate to you tasks they simply can't be bothered doing. No, these bosses would rather take that report, roll it up into a ball, set fire to it, and throw it at your face. The only delegation they're interested in is getting you to test the sharpness of their axe, or the effectiveness of a new spell.
The end level boss is almost as old as videogaming itself, and many genres have some form of superior foes awaiting you at the end of a level, area or mission. These bosses are often large, overpowered beasts that make the foes you've faced thus far seem tame in comparison,...
Boss fights are almost always a game's highlight, but some are more challenging than others. Here's our top 25...
In the world of videogames bosses aren't the kind of authority figures that'll give you a last minute report to do, or delegate to you tasks they simply can't be bothered doing. No, these bosses would rather take that report, roll it up into a ball, set fire to it, and throw it at your face. The only delegation they're interested in is getting you to test the sharpness of their axe, or the effectiveness of a new spell.
The end level boss is almost as old as videogaming itself, and many genres have some form of superior foes awaiting you at the end of a level, area or mission. These bosses are often large, overpowered beasts that make the foes you've faced thus far seem tame in comparison,...
- 4/30/2014
- by aaronbirch
- Den of Geek
Review James Stansfield 24 Jun 2013 - 23:15
Banshee delivers a bloody penultimate episode. Here's James' review of Always The Cowboy...
This review contains spoilers.
1.9 Always The Cowboy
If there was one thing that really struck you about the opening scene of Banshee’s ninth episode, it was the blood. Picking up minutes after We Shall Live Forever concluded, Ana lays beaten to a pulp in the back of her car while a strung out Sheriff Lucas Hood tries to get her to the hospital. It’s not Ana’s delirious daydreams or Hood’s pleading with her to hang in there that sticks out though, but the blood. Having gone through eight hours with Banshee, we’re no strangers to the red stuff by now but here it seems different, harsher in the broad daylight, and then sterile surrounding of the hospital. Blood plays a big part in Always The Cowboy,...
Banshee delivers a bloody penultimate episode. Here's James' review of Always The Cowboy...
This review contains spoilers.
1.9 Always The Cowboy
If there was one thing that really struck you about the opening scene of Banshee’s ninth episode, it was the blood. Picking up minutes after We Shall Live Forever concluded, Ana lays beaten to a pulp in the back of her car while a strung out Sheriff Lucas Hood tries to get her to the hospital. It’s not Ana’s delirious daydreams or Hood’s pleading with her to hang in there that sticks out though, but the blood. Having gone through eight hours with Banshee, we’re no strangers to the red stuff by now but here it seems different, harsher in the broad daylight, and then sterile surrounding of the hospital. Blood plays a big part in Always The Cowboy,...
- 6/24/2013
- by louisamellor
- Den of Geek
In our writers' favourite film series, Paul Owen explains why the Beatles bromance between John Lennon and Stuart Sutcliffe strikes a chord
• Not swayed by this perspective? Twist and shout in the comments below
Backbeat tells the story of the Beatles' pre-fame Hamburg days, focusing on Stuart Sutcliffe, the band's magnetically sexy original bassist, and his relationships with John Lennon and the beautiful and exotic German photographer Astrid Kirchherr. It's a great premise, and director and co-writer Iain Softley tells the tale with all the smart dramatic pacing, period detail and musical verve you might hope for. But, perhaps more surprisingly, he also creates a complex and emotionally sophisticated portrayal of love, friendship and attraction.
Softley hews to received wisdom in his presentation of the Beatles: John is talented, scabrous and aggressive, Paul weak and duplicitous, George third among equals (Ringo makes only a brief appearance). But his portrayal of...
• Not swayed by this perspective? Twist and shout in the comments below
Backbeat tells the story of the Beatles' pre-fame Hamburg days, focusing on Stuart Sutcliffe, the band's magnetically sexy original bassist, and his relationships with John Lennon and the beautiful and exotic German photographer Astrid Kirchherr. It's a great premise, and director and co-writer Iain Softley tells the tale with all the smart dramatic pacing, period detail and musical verve you might hope for. But, perhaps more surprisingly, he also creates a complex and emotionally sophisticated portrayal of love, friendship and attraction.
Softley hews to received wisdom in his presentation of the Beatles: John is talented, scabrous and aggressive, Paul weak and duplicitous, George third among equals (Ringo makes only a brief appearance). But his portrayal of...
- 11/17/2011
- by Paul Owen
- The Guardian - Film News
COLOGNE, Germany -- German actor Kai Wiesinger has won the Berlin International Film Festival's 2005 Planet Documentary film prize for the pitch for his directorial debut, Eruv -- The Wire, organizers said Wednesday. A jury headed by Oscar-winning director Caroline Link (Nowhere in Africa) chose Wiesinger's proposal from more than 100 entries submitted at this year's Berlinale Talent Campus in February. The film, which Planet will fully finance and broadcast on its niche cable channel, will focus on the conflict between Orthodox and non-Orthodox Jews in Teaneck, N.J.
- 6/10/2004
- The Hollywood Reporter - Movie News
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