As part of our look back over the seven years of MostlyFilm’s life, theTramp focusses on the small screen, and in particular what the big telly trends were in 2017.
The Tramp’s latest edition of “films you might overlook on streaming services but really they are worth a look honest” features Keira Knightley, a lot. Non-fans turn away now.
My movie is out already but I was in the neighbourhood ok!
They seek them here. They seek them there. They seek those superhero’s everywhere!
Actually there’s isn’t much seeking required because your TV, streaming channel and cinema are set to be positively chock-full of heroic comic adapted action over the next 12 months. And if you have some comic adaptions to get fans pants wet with anticipation about then Comic Con is the place to tease them. Here’s a round-up of a few of the more interesting from Mostly Films theTramp and James Moar.
Writer, director, cinematographer, editor, producer (lets gloss over his actor credits); since Sex Lies and Videotape was released in 1989 Steven Soderbergh has been making interesting films that are quietly celebrated. I say quietly because for some reason Soderbergh never seems to feature in people’s favourite lists in the way that say Scott, Tarantino, Coppola or Scorsese do. Perhaps his ability to straddle indie, art-house and commercial has something to do with it? Perhaps it is his constant switching between genres? (Some more successfully than others.) And yet between 1998 and 2002 with Out of Sight, The Limey, Traffic, Erin Brokovich, Ocean’s Eleven and Solaris I believe he had a run of perfect films – and even if you disagree with me in regards to their perfection you may be able to agree that it was a bloody good run of films that spanned genre’s as diverse as revenge thriller, drug trafficking drama, true life biopic, Heist and sci-fi.
As part of an ongoing project to classify, catalogue and groove to every cover version in history, The Tramp turns her attention to Lounge covers. And so, in the club style…
Sex has always had a role to play in horror, just look at Dracula. But, the Tramp asks, is this relationship a healthy one? Have we moved beyond the allegorical to something far more disturbing and Ballardian than Stoker could ever have dreamt of?