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Mob Land

Director – Nicholas Maggio – 2022 – US – Cert. 15 – 110m

****

Needing money to pay off debts, a family man, mechanic and racer gets sucked into a robbery by his uncle, then finds himself working alongside a mob killer hired to clean up the loose ends of the crime – out in UK cinemas on Friday, August 25th

A small. rural town in the Southern States. Shelby Conners (Shiloh Fernandez) completely in love with wife Caroline (Ashley Benson) and devoted to young daughter Mia (Tina DeMartino), pops pills to get through the day and hasn’t yet told his wife about the mounting household bills. His uncle Trey (Kevin Dillon), the proud owner of an expensive, lurid lime green, Japanese car, offers him a way out in the form of a sure fire robbery about which Shelby is less than sure.

There’s this pills / meds store called the Happiness Pain Centre which, Trey explains, is turning over a huge amount of money a day and is only guarded by a couple of hicks, so it would be a pushover. And all Shelby needs to do is drive the car, something both men know he’s really good at, especially as Trey can provide the car to Shelby’s specification.… Read the rest

Categories
Features Live Action Movies

A Quiet Passion

Nonconformist poet

A Quiet Passion
Directed by Terence Davies
Certificate 12a, 126 minutes
Released 7 April 2017

A stern matriarch divides a school room of young women into those who are saved on one side and those who hope to be saved on the other. This leaves Emily Dickinson (Cynthia Nixon) in the middle because she hasn’t got as far as that yet. Rescued from the seminary by her father Edward (Keith Carradine), Emily confesses that she was suffering from ‘evangelism’.

Thus begins the latest film from the British, Catholic director Terence Davies – a biopic of the 19th-century, US poet Emily Dickinson, from her leaving school, through her life as a single woman in an era when women were supposed to marry and have children, to her death. Directed with Davies’ usual visual, cinematic rigour and punctuated by large chunks of Dickinson’s poetry in voice-over, the film also drips Christianity. It never attempts to convert anyone, but neither does it shy away from portraying a household in the southern states where faith and theology are everyday discussion topics. [Read more…]

Full review in Reform magazine, April 2017.

Trailer: