Tag Archives: Guy Pearce

Prometheus (2012)

2 Jun

Revisiting the Alien universe was always going to be a risk for Ridley Scott.  Alien was the film that cemented his reputation as a visionary auteur and is rightly regarded as a classic, a sublime example of atmospheric horror.   Three sequels of varying quality established a sprawling world, one that Scott had long hinted that he was interested in exploring further, his interest particularly piqued by the mysterious Space Jockey, whose fleeting glimpse in his original work posed questions that have never been answered.  Whilst Prometheus puts that quandary to bed, its ambitions and scale are far loftier than merely acting as a prequel to the series, which proves to be a refreshing yet frustrating approach.

Continue reading


1 May


UK film fans Assemble! Despite sporting the worst film title in recent memory, Avengers Assemble hits our screens this weekend and will do phenomenal business. Genre geeks will fuel the numbers given that both 3D and 2D versions are on offer, but Joss Whedon also lends the pic crossover appeal that will draw filmgoers regardless of whether they’ve seen Thor, Iron Man et al. Whedon’s pic pits our heroic troupe against intergalactic mischief-maker Loki who is seemingly intent on taking over the world (now where have I heard that one before?) and as expected explosive havoc reigns. Yet pithy bickering and a razor-sharp script ensure that this is superior to much of what has come before.

Continue reading

From the Archives: Factory Girl (2006)

15 Feb

Given the glut of biopics that have emerged from Hollywood in recent years, it is surprising that a character as captivating as Edie Sedgwick has been ignored for so long. Of course, Andy Warhol’s Factory crowd has been considered before in Basquiat and I Shot Andy Warhol amongst others, but Sienna Miller’s Sedgwick makes a far more compelling subject than the graffiti artist or the feminist Valerie Solanas. Perhaps it is fitting that Sedgwick has only just been afforded the biopic treatment, given society’s incessant fascination with the cult of celebrity. Sedgwick is referred to as a “poor little rich girl”, a tragic figure, a 1960’s manifestation of a Kate Moss or Paris Hilton, yet George Hickenlooper’s examination of her rapid rise and fall, from Warhol’s muse to washed out drug addict proves to be both mesmerizing and frustrating in equal measure.

Continue reading