Delving into one of the less explored aspects of one of the most covered war moments in history, the script by Anthony Maras and David Haig, based on Haig’s stage play, explores how weather won perhaps the most crucial battle of World War II. Despite it’s slightly unusual subject matter, the structure of the film (involving one lone voice of reason struggling to be heard over the naysayers) is quite familiar.
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One of my favorites from the extremely strong slate of films released in 2007, director Ang Lee‘s Lust, Caution earned praise winning Lee his second Golden Lion at the Venice Film Festival but also backlash for the film’s explicit sex scenes causing it to be released in America under a NC-17 rating. Loosely inspired by an attempt to kill a Japanese collaborator during WWII, Tang Wei stars as the most naive member of a group of radicalized college students who plan to kill a collaborator (Tony Leung Chiu-wai) set in power by the Japanese occupation in China.
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Sirât offers the tragedy of a father (Sergi López), accompanied by his son (Bruno Núñez Arjona), on an ill-fated search for his missing daughter. Their journey starts at a rave in the middle of the southern Moroccan desert where they decide to follow a group of ravers (Stefania Gadda, Richard ‘Bigui’ Bellamy, Jade Oukid, Tonin Janvier, and Joshua Liam Herderson) off the beaten path to another rave where they hope to finding the missing piece of their family.
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Director Martin Brest‘s 1998 remake of Death Takes a Holiday stars Brad Pitt as Death who grants the ridiculously rich Bill Parrish (Anthony Hopkins) a few extra days of life in exchange for letting him stick around in a stolen body and discover what’s so great about life for himself. The body chosen by Death just so happens to be the same man Parrish’s daughter Susan (Claire Forlani) falls for in an earlier scene. Rechristened as Joe Black, who refuses to provide any more information about himself, Joe inserts himself into Parrish’s world causing havoc for Bill and romantic confusion for Susan.
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Writer/director Bart Layton‘s adaptation of Don Winslow‘s novella offers a mix between a heist film and a drama featuring the interconnected lives of strangers who converge. Our characters include our noble and uncatchable thief (Chris Hemsworth), the girl (Monica Barbaro) he begins dating after she literally crashes into him, a good cop (Mark Ruffalo) on the outs with his own department for following evidence rather than towing the company line, a middle-aged insurance agent (Halle Berry) passed over for another raise, and a second, more reckless, thief (Barry Keoghan) looking to steal a big score from Hemsworth’s character.
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