Happy new year readers!
I hope you’ve all had a great holiday season and are ready for the new year. 2016 is going to be HUGE for AMONymous, and a couple big changes are in the works.
Firstly, I am now going to be doing a lot more on-camera content for AMONymous. The website will still be updated, but if you want to be ahead of the game you’ll want to be subscribing to my YouTube channel here. Secondly, the content will be much more varied and regular. In addition to reviews, there will be plenty of features, interviews, competitions and much more!
To that end, here’s my top 10 most anticipated films of 2016. It’s going to be a great year.
As we come to the end of The Hunger Games franchise, it feels a little strange to think that it only started out in 2012. Having efficiently cranked out an instalment each year for the past four years, it will go down as one of the swiftest (and successful) quadrilogies of all time. Whether it will go down as one of the best will likely be discussed in the coming months, but director Francis Lawrence can take pride in having concluded the series on a strong note. If Mockingjay: Part 1 was the calm, then Mockingjay: Part 2 is the angry, depressing, but no less compelling storm.
From the classic 1953 Disney animated adaptation to Steven Spielberg’s Hook in 1991, many filmmakers have tried to reinvent J. M. Barrie’s Peter Pan on the silver screen with varying results. The latest director to walk the plank is Joe Wright; giving us a new origin story for the boy who wouldn’t grow up, the occasional entertaining set-piece can’t stop Pan from being a forgettable, CGI-overloaded mess.
Having given us movies such as Alien and Gladiator, there is a certain amount of excitement and expectation that typically surrounds a Ridley Scott production. With a recent output that consists of Exodus: Gods and Kings, The Counsellor, and Prometheus, those expectations have not been merited or met. Thankfully the director is back on form with The Martian, a fun and smart sci-fi which will have you laughing more than most comedies.
From Orson Welles in 1948 to Roman Polanski in 1971, William Shakespeare’s Macbeth has undergone many stage and screen adaptations in its 400 year plus history. The latest attempt to translate it to the silver screen comes from Justin Kurzel. It’s only the second feature from the Australian director, but he accomplishes an impressive feat in distinguishing his take from all that has come before it. It’s just unfortunate that much of Shakespeare’s iambic pentameter is undecipherable.
There are few composers working today who are as prolific as Harry Gregson-Williams. A veteran of over 20 years, his impressive career spans television, video games, and films such as the Shrek and The Chronicles of Narnia franchises.
Last August we were invited to the world famous Abbey Road Studios where Gregson-Williams was finishing up his score for The Martian, Ridley Scott’s highly anticipated fall blockbuster. We were lucky enough to see 15 minutes of footage set to his musical cues, with the quickly catchy theme being employed in interesting ways. The finished product is sure to be a memorable addition to both Scott’s filmography and Gregson-Williams’ discography.
Before that aural treat, we had the opportunity to sit down with Gregson-Williams, and during the course of our illuminating tête-à-tête the composer talks about working with the Scott brothers, the process of creating a score, and why working on franchises can be tricky. Have a read below.
Michael Shannon and Andrew Garfield make for an unlikely yet compelling duo in Ramin Bahrani’s 99 Homes, a powerful two-hander of a thriller that loses none of its impact despite its heavy-handed nature.
After a tone-setting tracking shot which features the body of an evictee who shot himself during the course of a foreclosure we meet Dennis Nash (Garfield, sans Spidey spandex for the first time since 2010), a construction worker whose trade has been hit hard by the financial crisis. With bills mounting up and no money to pay them with, it’s not long before ruthless real-estate broker Rick Carver (Shannon) is knocking at Nash’s door and evicting him, his Mother (Laura Dern) and his young son (Noah Lomax) out of their home. Desperate to get his family out of their now squalid accommodations, Nash reluctantly accepts an offer to work for the very man who evicted him in the first place.