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This place is nothing but chaos. Your God doesn’t even come here. Texas Killing Fields is directed by Ami Canaan Mann and written by Don Ferrarone. It stars Sam Worthington, Jeffrey Dean Morgan, Jessica Chastain, Chloe Grace Moretz, Jason Clarke, Annabeth Gish and Stephen Graham. Music is by Dickon Hinchliffe and cinematography by Stuart Dryburgh. Film is based around real events involving the many murders of women whose bodies have been found in a desolate area of road and wasteland between Houston and Galveston. Ami Canaan Mann is the daughter of Michael Mann, one of the masters of modern day crime story movies, so it’s not very surprising to see Ami, for her sophomore production, venture into murky waters. Texas Killing Fields is a bayou noir, where although the title hints at human devastation unbound, it’s actually a slow burning skin itcher more concerned with the people investigating crime than that of the perpetrators. How the sorry events affect all who come in to contact with the crimes at the film’s core, is what drives Texas Killing Fields on. Sadly the screenplay takes on board too much and nearly derails an otherwise very good movie. If it comes down to atmosphere and technical smarts in achieving such? Then this is one of the finest of recent times. There’s a constant sense of broody foreboding throughout, the haunting landscapes are all gnarly and spectre like, the whole area literally stinks of death and misery. Even when the story is away from the fields of the title, there’s a mood of despair filtering out from Mann and Dryburgh’s lenses, the hot Texas weather draining every ounce of sweat from the emotionally troubled detectives. All of the atmosphere is helped considerably by Hinchliffe’s music, which piggybacks the misery with ominous bluesy tones. Unfortunately all this deft atmospheric craft can’t stop the screenplay from being annoying. A sub-plot involving Worthington and Chastain as ex husband and wife is as pointless as it gets, which simultaneously wastes Chastain in the process. The makers have chosen to actually have suspects front and centre for the crimes on screen (unlike the real life cases, most of which remain unsolved), well they intend to keep it mysterious, but anyone paying attention will catch on quickly enough. There’s also problems with the sound mix, which at times is appalling, rendering some crucial dialogue exchanges as inaudible. Cast are good, especially Morgan and Moretz, and Mann shows a good hand at action sequences to compliment her astute mood setting skills. But this still feels like a misfire, and subsequent critical appraisals and internet rating systems have it as just above average. That’s a little unfair, there’s much for the neo-noir/crime movie crowd to get enthralled by here, but Mann may need to sharpen up her story telling whiles to fully bloom her undoubted potential. 6.5/10
Jess Bhamra, the daughter of a strict Indian couple in London, is not permitted to play organized soccer, even though she is 18. When Jess is playing for fun one day, her impressive skills are seen by Jules Paxton, who then convinces Jess to play for her semi-pro team. Jess uses elaborate excuses to hide her matches from her family while also dealing with her romantic feelings for her coach, Joe.
Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware and holds her own in a café conversation with a concert pianist she meets, but she has a wild streak and she's testing her powers over men, finding that she doesn't always control her moods or actions, and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third.
As the romantic monsoon rains loom, the extended Verma family reunites from around the globe for a last-minute arranged marriage in New Delhi. This film traces five intersecting stories, each navigating different aspects of love as they cross boundaries of class, continent and morality.
A supernatural tale set on death row in a Southern prison, where gentle giant John Coffey possesses the mysterious power to heal people's ailments. When the cell block's head guard, Paul Edgecomb, recognizes Coffey's miraculous gift, he tries desperately to help stave off the condemned man's execution.
Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.
An emotionally scarred highway drifter shoots a sadistic trick who rapes her, and ultimately becomes America's first female serial killer.
In a barren, arranged marriage to an amateur swami who seeks enlightenment through celibacy, Radha's life takes an irresistible turn when her beautiful young sister-in-law seeks to free herself from the confines of her own loveless marriage.
Pakistan - present day, a Stranger in a bandaged mask embarks upon a random killing spree with a gun. After shooting eight people dead, he realizes that nobody seems to care about what he is doing. So he gets onto a TV show with a plan to kill himself live on air. A Filmmaker emerges from this dream, with no mask, gun or dead people. Just a camera in his hand. Then his real troubles begin. Persecuted, paranoid and on the run, the filmmaker becomes confused whether he is still trapped in his dream, or whether Pakistan itself might have lost grip on reality.
Good Morning, Karachi is the story of a young girl (Amna Ilyas) who wants to be a model while struggling towards her dream against the backdrop of the Benazir Bhutto assassination.
The accident suffered by his son Leon, marks Alberto forever. From that moment, someone enters his world: an immigrant that, by saving his son, will make Alberto feel guilt and at the same time gratitude, which will give a definite turn to their lives.
The perfect English arcadia gives way to varying kinds of misfortune, disruption and violence. With more than a passing reference to the 'narrative' paintings by masters such as Bruegel, this single-take 9-minute short is about a lazy Sunday afternoon that goes horribly wrong.
