The original movie, The Taking of Pelham One, Two, Three, was a classic of early '70s neo-noir sensibilities: tight-lipped grown ups exchanging terse dialogue punctuated by compelling moments of controlled violence. What can director Tony Scott, the man who helmed Domino, Man on Fire, The Last Boy Scout, Beverly Hills Cop and not to mention Days of Thunder and Top Gun, possibly add to the mix, do you imagine?
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Mark Kermode and Simon Mayo are in front of an audience once again to
debate the merits of specific movie genres in their Screening Room.
This time it is the turn of rock docs. Movies such as Gimme Shelter,
Rattle And Hum and Anvil are given the Mayo and Kermode once-over.
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Mark reviews Lars von Trier's Antichrist.
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She's funny, she's gorgeous, it's impossible to not love her and yet she makes rotten film after rotten film after rotten film. What is her secret? I think I know.
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Film Club with Mark Kermode and Simon Mayo. This week the pair discuss the relative merits of musical biopics and whether such movies can ever live up to the majesty of the music.
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After last year's homage de skiffle to George Lucas's animated Star Wars outing, The Clone Wars, my fellow Dodge Brothers and I have found the courage to try another summer spectacular: the Alexander Courage, in fact.
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By some uncanny coincidence, in the very week of the 40th anniversary of Neil Armstrong's moonwalk, a new British movie simply called "Moon" hits our screens, and a widely admired work of intelligence and cinematic brio it most certainly is. In view of these auspicious events here is my take on how man's history of celluloid trips to the moon from Fritz Lang to Duncan Jones has always been about telling a much older, much deeper story.
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Mayo and Kermode talk to Willem Dafoe about his role in Lars von Trier's Antichrist.
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In this exclusive web-only interview, the visionary director behind Pan's Labyrinth and Hellboy, Guillermo del Toro, talks to Mark Kermode about the first of his trilogy of vampire novels, The Strain.
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So now you've had a chance to check out Sacha's Brüno and Johnny's Dillinger, it seems a few of you have opinions of your own, and some of them are really rather good.
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After the success of Ali Gi and Borat, Sacha Baron Cohen had a good run as a sideshow in Talladega Nights, Sweeney Todd, and those Madagascar cartoons. Now he is back doing what he does best with Brüno - but has staying true to his original principles also become a little bit 2006?
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It's crude, it's rude, it must be Sacha Baron Cohen's latest offering, Bruno.
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Never let it be said that there is no freedom of speech on Kermode Uncut: you can be as totally wrong as you like. And in other news, how does a person pronounce the surname "Bowie." Is it possible to be apsolutist about it?
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So after a summer of horrible giant robots it's fantastic news that Michael Mann, the genius auteur behind Manhunter, The Insider, and Heat is back with a new movie, the story of John Dillinger, the most famous bank robber in American history. Brilliant news, isn't it? Isn't it?
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