Tomb Raider Director: Roar Uthaug
Screenwriter: Geneva Robertson-Dworet, Alastair Siddons
Story By: Evan Daugherty, Geneva Robertson-Dworet
Cast: Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas
Distributor: Warner Bros.
Rated PG-13 | 118 Minutes
Release Date: March 16, 2018
The quality of the video game gameplaying experience continues to progress at an impressive rate. More and more games are weaving a cinematic feel that gives the player a more fulfilling and entertaining play. But it’s not the same for films based on video games. Most, if not all, are dead on arrival. The frustrating part of all of it is that these films take away the interactive experience and leaves them with something they could have enjoyed more at home.
Tomb Raider is a lot like that. On certain levels, it is one of the most physically demanding roles for Alicia Vikander, who takes up the title role. On others, it is yet another film adaptation of a video game franchise that repeats the same mistakes of its predecessors by failing to engage its audience with at least a decent story and relies too much on the video game elements to keep things interesting. Check out my full review here below.
Lara Croft is back in Warner Bros.’ Tomb Raider, the latest incarnation of the video game icon rooted in the recent video game release and played by Alicia Vikander as a burgeoning heroine to reflect the times.
Recently, the new title star of the franchise and the director Roar Uthaug chatted about the film with Los Angeles press and shared the process of bringing to life what makes Croft so iconic while keeping true to what it means to be a heroine in this day and age. See below for more of what they had to say about the new film.
Warner Bros. has released the newest trailer for the Tomb Raider reboot starring Alicia Vikander as Lara Croft.
Based on the video game series of the same name, the film will center on the title adventurer who travels to a fabled temple where her father was last seen. Along her journey, she will discover the secrets to his disappearance, and the nefarious organization who seeks to use the temple’s hidden treasures for genocide. Check out the full trailer below.
One of the most intriguing and impressive talents working today, Danish director Nicolas Winding Refn consistently presents movies to our eyes that—whether you ultimately decide to love or hate them—will burrow their way deep into your skull and fuse themselves to your brain. To put it simply, once you’ve watched a Winding Refn film, it’s nearly impossible to get it out of your head.
The director’s previous works include the original Pusher trilogy, Bronson, and Valhalla Rising. But perhaps his best known movie is Drive, which starred Ryan Gosling as a stunt/getaway driver and went on to receive high critical praise.
Now the director and actor have re-teamed for a new movie titled Only God Forgives, and, if these two new international trailers are any indication, it will be just as dark and violent and visually stunning as we’ve come to expect from Winding Refn. You can check out the two (semi-NSFW) trailers below.
Ethan Hawke has become a regular sighting on the Parisian streets. He charted the narrow cobblestone streets endlessly while in intimate and deep conversation with his co-star Julie Delpy in Before Sunrise and Before Sunset, two films remarkably adept at capturing the many facets love is capable of possessing. Seeing him stroll idly and lonely around the not-so touristic venues in The Woman In The Fifth is welcomed and appreciative in the sense that it strips away all romantic notions attached to love and replaces them with disquieting notions that paint love and romance in a negative and perverted light. Though not apparent initially, the film, through Hawke’s character, navigates through a throng of squalid and empty relationships.
Polish director Pawel Pawlikowski (he also wrote the film’s screenplay based on Douglas Kennedy’s book) shows us a Paris that is extremely contrary to the one that has been conventionally conveyed in an infinite number of hapless films. Cafes are decrepit, some apartments are illusory, and others exude grotesqueness. This extreme break allows audiences to be unaware of where this film will finally end up. Constantly unfamiliar with the dilapidated Parisian surroundings this film presents, audiences then expect a different kind of narrative to unravel about love and loss.