Friday, 17 May 2013


A GIRL AND A GUN (2013, Benjamin D. Skevofilax)

A GIRL AND A GUN is the first chapter in a series of short films which follows beautiful and talented Bollywood actress Anisha Havelock-Lawn who is confronted with a secret and a past she will do anything to keep concealed.

Written, produced and directed by myself (Benjamin D. Skevofilax) and influenced by by the French New Wave, Film Noir and Bollywood it was filmed in January 2013 in and around Melbourne, Australia and is currently in post-production and due to be completed in next month.

Please Like and Support the Official Facebook Page by clicking the link below! - for the latest updates and news on this and future installments in the series - your support is greatly appreciated! 

Thursday, 16 May 2013


Cast and Credits
Melanie Stryder / Wanda ... Saorise Ronan 
The Seeker / Lacey ... Diane Kruger  
Jared Howe ... Max Irons
Jeb... William Hurt 
Ian O'Shea ... Jake Abel
Maggie ... Frances Fisher

Director/Screenwriter: Andrew Niccol 
From the novel by Stephanie Meyer
Producer(s): Ray Angelic (EP), Jamie Audia (CP), Claudia Bluemhuber (EP), Lizzy Bradford (CP), Marc Butan (EP),
Bruce Cohen, Bradley Cooper (EP), Donna Gigliotti, Jonathan Gordon, Mark Kamine (CP), George Parra (EP), Michelle Raimo (EP), Bob Weinstein (EP), Harvey Weinstein (EP), Renee Witt (CEP), Uwe Feuersenger (EP), Meghan Hibbett (CP), Bill Johnson (EP), John Brooks Klingenbeck (EP), Stephanie Mayer (P), Paula Mae Schwartz (P), Steve Schwartz (P), Roger Schwartz (CP), Jim Seibel (EP) and Nick Wechsler (P)
Director of Photography: Roberto Schaefer 
Production Designer: Andy Nicholson
Costume Designer: Erin Benach
Editor(s): Thomas J. Nordberg
Music: Antonio Pinto

Reviewed By: Benjamin D. Skevofilax 
Edited By: Coleen Skerritt

The very mention of a film based on a novel by Twilight’s Stephanie Meyers makes discerning audiences cringe, teenage girls leap with excitement, film critics scoff and producers snicker with joy at their multi-million dollar hauls at the box-office.

Be it for good or bad the Twilight franchise has become a cultural sensation; the four novels have sold over 16 million copies worldwide and the five films (let’s no forget the ‘genius’ executive decision to split the final novel into two films) have grossed $3 billion plus at the global box-office – and now comes The Host based on Meyers’ fifth and at present latest novel; it’s a science fiction yarn that features neither vampires or werewolves however there’s still a love triangle (or is it better described as a quartet?) and not one but two young women coming of age in unusual circumstances.

 Diane Kruger as the alien antagonist The Seeker

Sometime in the future; human beings have been taken over by an unseen super-intelligent extraterrestrial being taken over their bodies and erasing their memories in order to teach them peace and harmony. A former revolutionary Melanie Stryder (Saorise) is inhabited by one of these beings known as Wanderer who has invaded Melanie in order to filter her memories and find out where her renegade family are – however Melanie can communicate with Wanda who has enslaved her in the consciousness of her own mind leading to interior conversations between the human (Melanie) and soul (Wanda) aspects of the same person; both of whom grow to live with each other when they go on the run to find Melanie’s family who are living in an isolated farming collective all while being ruthlessly hunted down by The Seeker (Diane Kruger).

The Host’s primary goal isn’t to be an action-packed dystopian sci-fi but rather a teen romance about the possibilities of love. This is the film’s (and from what I’m hearing the novel’s) greatest undoing Melanie before she was inhabited was in love with Jared Howe (Max Irons – son of Jeremy) but now that she is being controlled by Wanda it’s a different story and she falls in love with Jake Able (Ian O’Shea). It may not be as clumsy or wooden as the romance of Bella and Edward or Jacob in Twilight but it’s certainly not far from and it’s filmed in such a way that resembles a glossy soap opera with little to no passion between any of those involved.

Once upon a time writer/director Andrew Niccol directed Gattaca (1997), S1mone (2002) and Lord of War (2005) all intriguing science fiction films with a witty social or political satire but this much like his previous outing the Justin Timberlake/Amanda Seyfried starrer In Time (2011) feels like a lesser director trying to emulate a better directors’ work.

 Saorise Ronan as the dual personality of Melanie and Wanda 

Here he’s out of his comfort zone handling romantic subplots without either passion or intimacy that even a talented actress like Saorise Ronan seems adrift at sea without rescue and the few (very) brief action scenes most with Diane Kruger driving, flying a copper or running around after Melanie/Wanda seem to have been filmed when the production ran out of money.

There is no real explanation as to why these aliens beings have come to earth – sure they came here to show us how learn to find peace and harmony but imprisoning the whole planet in the process? And was it mentioned that these beings in their native form look like blue transparent caterpillars and when in human form dress in chic all-white ensembles and drive futuristic white sportscars – lots of creativity there right and worst of all it takes all this to seriously.

Then there’s the cast who clearly didn’t listen to their inner host and dodge this insipid vehicle – Saorise Ronan who has up until this point taken on interesting and various roles can’t even make the dual character of Wanda seem like a conflicted character while as the inner voice of Melanie becomes irritating and grating very quickly – that being said she still manages to give an award worthy performance (not the Razzie) compared to Kristen Stewart as Bella Swann and as her would be suitors Max Irons and Ian O’Shea are only here as pretty boys and to start the occasional fight over their unrequited love for Melanie and Wanda.

                                              Melanie / Wanda (Ronan) with one of her suitors

Veterans William Hurt and Frances Fisher fare much better as her uncle and aunt – who one believes that she still resides inside while the other is sceptic. Diane Kruger on the other hand is completely wasted playing The Seeker an alien who believes it’s her duty to hunt down all those are don’t have hosts (and doesn’t believe in violence) and her pursuit of Melanie and her family soon becomes tedious largely because there’s little to know reason given as to why she is hunting them down in the first place.

The only reason The Host exists as a film is because of the roaring success of the Twilight series which concluded with the dire Breaking Dawn Part 2 last year and while this is only marginally better it’s still an occasional laugh riot with some ridiculously corny lines and plot points and the characters range from mildly tolerable to utterly pointless.

Review: 2/5

Monday, 8 April 2013

Eva Green is a Dame to Kill For

It's been seven years since Robert Rodriguez's stylized neo-noir Sin City (2005) based on Frank Miller's acclaimed graphic novel series and finally the sequel subtitled A Dame to Kill For is currently in post-production and due for release in October.

The film shot entirely on green-screen to evoke a black and white combined with occasional splashes of colour and reunites original cast members like Bruce Willis, Jessica Alba, Rosario Dawson and Clive Owen with new additions Joseph Gordon-Levitt, Josh Brolin, Juno Temple, Jeremy Piven and Eva Green - the latter who plays seductive femme fatale Ava Lord.

The French actress takes on the role after years of casting rumours that first started when Oscar winner Angelina Jolie was said to have been cast in the role back in 2006-07 however with the film being delayed other actresses were considered including Salma Hayek, Rose McGowan, Rachel Weisz, Michelle Williams, Helena Bonham Carter, Scarlett Johansson, Anne Hathaway and Jennifer Lawrence.

Green has been selective of taking on roles since her 2003 debut in Bernardo Bertolucci's The Dreamers and made her Hollywood debut in 2005's Kingdom of Heaven followed by turns in Casino Royale (2006) as Vesper Lynd, The Golden Compass (2007) and Dark Shadows (2012) playing witches in both and later on in 2013 she'll star in another long-gestating sequel (or rather prequel/midquel) 300: Rise of an Empire.

The character of Ava Lord is known for her manipulation of men with her innocent facade and an expert liar - she is an ex-lover of Dwight McCarthy (played by both Josh Brolin and Clive Owen in the film) and clearly from the title of 1993 graphic novel and clearly the upcoming film some are willing to kill for her.

Although just a teaser the poster sums this up with a classic femme fatale quality a mixture of seduction, manipulation and homicide.

Monday, 18 March 2013


Cast and Credits
Pat Solitano... Bradley Cooper 
Tiffany Maxwell... Jennifer Lawrence
Pat Solitano Sr... Robert De Niro 
Dolores Solitano... Jacki Weaver
Danny... Chris Tucker
Dr. Cliff Patel... Anupam Kher 

Director/Screenwriter: David O. Russell
From the novel by Matthew Quick 
Producer(s): Bruce Cohen, Bradley Cooper (EP), Donna Gigliotti, Jonathan Gordon, Mark Kamine (CP), George Parra (EP), Michelle Raimo (EP), Bob Weinstein (EP), Harvey Weinstein (EP), Renee Witt (CEP)
Director of Photography: Masanobu Takayanagi 
Production Designer: Judy Becker 
Costume Designer: Mark Bridges 
Editor(s): Jay Cassidy, Crispin Struthers  
Music: Danny Elfman 

Reviewed By: Benjamin D. Skevofilax
Edited By: Colleen Skerrett

With his last two features, indie director David O. Russell has transformed the conventional Hollywood genre with his own unique spin and garnered awards galore. While these films have subscribed in someway to their specific blueprint attempt, they have for the most part succeeded at re-imagining their genre. The films are of course The Fighter (2010) and Silver Linings Playbook (2012).

The former film sits somewhere between the optimism of Rocky (1976) and the gritty bleakness of Raging Bull (1980). A boxing bio-pic about one of the most dysfunctional yet believable families around, and the talented boxer Micky Ward (Mark Wahlberg) who tries to escape the madness of his family that includes his domineering stage mother, Alice (Melissa Leo), and his drug addicted, washed-up half-brother Dicky (Christian Bale) who is also a boxer. Micky is subsequently caught between them, his career and his love for tough-as-nails barmaid, Charlene (Amy Adams).

Had The Fighter been made as a big-budget studio picture it would have followed every formula and cliché imaginable. However, thanks to Russell’s intense and sometimes all too realistic approach the film converts the story into something denser despite taking several liberties with its source material.

And now, moving onto Silver Linings Playbook (2012); it’s a quirky romantic comedy that likewise focuses on a dysfunctional family – albeit a more functioning one, just barely. In it, Pat Solitano (Bradley Cooper) is a mental patient who has just been released from the loony bin into the custody of his supportive mother, Dolores (Jacki Weaver). Pat is a former teacher who was sent to the mental hospital after almost killing his wife’s lover. Upon his release, he moves back into his parents’ home that also includes his OCD, superstitious, sports-obsessed father, Pat Snr. (Robert De Niro). If that wasn’t enough, things become even more complicated when Tiffany (Jennifer Lawrence), a widowed recovering sex addict, comes into his life.

Based on the acclaimed novel by Matthew Quick, Silver Linings is a Romantic Comedy – a highly dubious sub-genre if ever there was one. Fortunately, this time around there’s no lovelorn career-minded single woman whose dream man just happens to materialize as they fall in love at first sight. Here we have two outcasts with mental illness who don’t follow the norms of what society thinks they should.

On-screen mental illness has previously been handled mostly in dramas, most notably in One Flew Over the Cuckoo’s Nest (1975, Milos Forman). On the rare occasion in which it has been dealt with in comedy it’s characters are predominantly reduced to caricatures, “crazies” or whacky supporting characters. However, Russell (who also wrote the screenplay) has concocted an edgy lightweight Rom-Com that manages to never criticize or censor its characters’ motivations, instead asking the bigger questions about what is “normal”. And it rarely puts a foot wrong, that is, up until the final five minutes when it slips through its fingers.

That minor issue aside, what’s not to love about a film that has its romantic couple breaking the ice at the dinner table by enthusiastically comparing the medication that they have been or are on and their side effects or benefits as if it were a hobby while the baffled hosts look on?

It’s the characters, not the plot, that makes Silver Linings memorable. The story which involves opposites attracting, sports bets and a Dancing with the Stars-esque local dance competition (which highlights near the end of the film) wouldn’t have worked in the least had it not been for the eccentric characters which are intern portrayed by a fantastic cast led by Bradley Cooper who has never been better in a breakthrough role. Cooper struggled for a number of years before gaining attention for The Hangover and its sequels (Part III releases this year). He is ideal as the recovering mental patient whose world is so wrapped around reuniting with his wife who has a restraining order against him. His character also has no filter on what to say which is also unique for a Rom-Com. 

As his parents both Robert DeNiro and Jacki Weaver are perfectly cast and it’s easy to see where he gets his traits from – his father is an undiagnosed bipolar and his mother is the over-supportive matriarch trying to deal with all the chaos around her. Through these characters, Silver Linings poses three questions: who is really “stable”, who is really “sane” or do we all have some form of psychosis diagnosed or otherwise.

All of that aside, it is Jennifer Lawrence who dazzles in this film; at just 22 the actress who already seems like a veteran (hell, she’s already an Oscar winner – the second youngest in the leading actress category, holding the record for most nominations for her age!) owns the role of Tiffany. Lawrence never tries to overplay the character or make her too sympathetic; sure, she’s a reformed sex addict but that doesn’t mean she has to play her as a slut. Nor does it mean that she has to sweep everything under the rug and pretend it never happened, as evidenced when Tiffany is asked by Pat why she lost her job (the reason she gives is that she slept with a lot of people at work – both men and women).

We believe Lawrence at every turn, and her deft handling of some rapid fire dialogue is flawless and there’s an instant chemistry with Cooper, albeit initially one of animosity. One of the many highlights comes when she faces off against Robert De Niro; Tiffany and Pat Snr. engage in an argument about football in which she seems light years ahead of her age – Lawrence’s delivery and timing is comparable to the legendary screwball comedies of a bygone era Rosalind Russell, Myrna Loy, or Carole Lombard, etc.

There’s also a strong presence from Chris Tucker (who hasn’t appeared on screen in 5 years) as Pat’s equally screwed up friend from the hospital. Indian actor Anupam Kher plays Pat’s unconventional psychiatrist and surprise football fanatic, Dr Cliff Patel.

Silver Linings bares a lot in common with The Fighter; it focuses on an eccentric family, this time in Philadelphia instead of Boston, and it has a sports-centric subplot as the Solitanos are sports crazy and Pat Snr. believes his son to be a good luck charm. This is a subplot that you can love or hate, or just not understand (this is American football after all) and when the crucial scene about the sports comes into play (pardon the pun) it becomes a bit confusing, but doesn’t deter from the film in anyway.

Russell and cinematographer, Masanobu Takayanagi (The Grey, Warrior) have infused an edgy plot that keeps us on our guard the whole time. The camera does not stop moving for almost half the film as though it is surveying everything that is on screen, not dissimilar to the state of mind of its protagonist, Pat.

Silver Linings Playbook is lightweight fare that focuses maturely on a very hard-hitting subject, not just mental illness but what society deems as “normal”. The film rarely relies on sentimentality, even though it might become a tad clichéd in its final scenes, it doesn’t take away from it being one of the best films of the year so far and a worthy contender for awards glory.

Silver Linings Playbook was nominated for 8 Oscars, including Best Film and Best Director. It was also nominated in all four categories for its actors (Cooper, Lawrence, De Niro, Weaver) making this the first film since Reds in 1981 that a film has achieved such feat. Despite the outstanding nominations, Lawrence was the only winner, taking out Best Actress.


Sunday, 10 March 2013

The Best of 2012: Supporting Actress

So we are now well into the third month of 2013 and now comes my list for best and worst of 2012? – Well no one would ever say I was predictable.

The first category to be announced is that for best supporting actress – these are titles all released either theatrically, at festivals or on home entertainment for the first time in Australia for the calendar year beginning January 1, 2012 and concluding December 31, 2012.

So Here We Go!

List By: Benjamin D. Skevofilax 

Top 10 Supporting Female Performances

- Amy Adams, The Master (2012, Paul Thomas Anderson) & On the Road (2012, Walter Salles)

Is there anything Amy Adams can't do? she's played a pregnant lonely southerner (Junebug, 2005), a Disney princess (Enchanted, 2007), a conflicted nun (Doubt, 2008) and a tough as nails barmaid (The Fighter, 2010) amongst other performances and in two 2012 films she gave equally brilliant performances in diverse roles both set in the 1950s.

In Paul Thomas Anderson's The Master (a role which earned her a fourth Oscar nomination) she played the seemingly loyal wife of cult leader Lancaster Dodd (Phillip Seymour Hoffman) who is mentoring a sex-obsessed marine Freddie (Joaquin Phoenix) while the towering performances of both Hoffman and Phoenix  are potent it's Adams' as the manipulative and secretly domineering Peggy Dodd that is the film's sinister core and proves who holds the real power and it gives Adams a role unlike any she has had before.

In Walter Salles' adaptation of 1957 Jack Kerouac's iconic beatnik novel Adams appeared for precious few scenes as Jane (based on real-life beatnik Joan Volmer) married to Old Bull Lee (Viggo Mortensen) both as drug addicts - in just a few key scenes Adams manages to nail her role with emotions range from depression to induced happiness that is all to believable.

- Samantha Barks, Les Misérables (2012, Tom Hooper)

Sure Anne Hathaway might have won the Oscar for her performance in the pop-opera musical Les Misérables but newcomer Samantha Barks gave an equally memorable performance as Éponine one of the film's most believable and haunting performances as the ragged and tragic daughter of shifty inn-owners (Helena Bonham Carter and Sacha Baron Cohen) and the would be romantic interest of revolutionary Marius (Eddie Redmayne) who just happens to be in love with Cosette (Amanda Seyfried). Barks inner struggle when she is overlooked in favour of Cosette is one of the film's most poignant moments and her rendition of the soulful On My Own soaked in run and walking the deserted streets of Paris unforgettable. Barks was the only cast member to have starred in the role on stage.

- Sareh Bayat, A Separation (2011, Asghar Farhadi)

The Iranian social drama A Separation proved to be one of the best reviewed films of the year when released and a large part of that was the realistic performances by the four central characters - but it was Sareh Bayat playing Razieh, a hard-working pregnant woman and devout Muslim who comes to work as a healthcare worker for the father of a couple who is in the process of divorce. The heavily pregnant Razieh comes into conflict with Nader (Peyman Moaadi) when she leaves her patient alone and suffers a miscarriage when thrown out of the house leading to an inquiry into the incident which brings about headache and deep seated secrets. Bayat could have overplayed her character but we believe in her from beginning to end and she is the heart of the film - her inner conflict is all to painfully human that it's hard not to feel something for her despite the secret that is ultimately revealed even then it's hard to feel hatred for her.

- Richa Chadda, Gangs of Wasseypur (2012, Anurag Kashyap)

Anurag Kashyap's gangster magnum opus Gangs of Wasseypur is split into two parts and combined runs for 320 minutes - a true epic if ever there was and in it characters are crazy, aggressive and dangerous but the real surprise here is that the lead female character Nagma is just as strong, aggressive and dangerous as she plays her character from teenage years to motherhood and well into her 60s as the matriach of a crime family in the Indian state of Bihar without any sign of softening as she gets older. Richa Chadda was only 21 when she played what many mainstream Bollywood actresses would have deemed to risky and antagonistic to play - but in Chadda's hands the role is utterly unforgettable whether chasing her husband out of a brothel to beating the shit out of anyone who gets in her way . It's one of the most complicated and complex characters of the year and by far a step forward to tougher, more dynamic female roles in Bollywood.

- J. Smith-Cameron, Margaret (2011, Kenneth Longeran)

It took Kenneth Lonergan's Margaret over five years to get released with lawsuits and the assistance of Martin Scorsese for the final edit and what we got was a flawed but fascinating ensemble drama about high school girl Lisa (Anna Paquin) and the ups and downs her life takes when she witnesses a tragic accident and all the characters that enter her life. Playing Lisa's stage actress mother, J. Smith-Cameron adds just the right amount of concern and anger at her rapidly unraveling daughter as well as balancing her own life with a new found success in her career and a promising new relationship - but it's the confrontational scenes between both Paquin and herself that are harrowing to watch and an all to familiar poignancy.

- Gina Gershon, Killer Joe (2011, William Friedkin)

As the opportuntistic, foul mouthed trailer trash mama Sharla Smith in William Friedkin's insidious but brilliant crime black comedy about a dysfunctional family who hires a contract killer to take out the evil mother of Chris Smith (Emile Hirsch) - Gina Gershon devours her scenes ranging from playing slutty, bold, brassy to terrified and scared and steals the show anyway from a well cast ensemble - you'll certainly think twice before looking at fried chicken again. It may be impossible to like Sharla but at least she's an unforgettable character perfectly played without cliche.

- Eva Green, Dark Shadows (2012, Tim Burton)

Tim Burton's uneven homage to the cult 1960-70s gothic soap opera of the same name is largely saved by Eva Green's dynamic performance as the vindictive, power hungry and scorned Angelique Bouchard who just happens to be a witch - a witch who it happens when rejected by aristocratic Barnabas Collins (Johnny Depp) in the 17th century turns him into a vampire and looks him in a coffin until he is awakened in 1972. Green anchors the role and goes for broke playing Angelique as seductive, grotesque and scary all at the same time and in addition is the only cast member who doesn't seem to be sleepwalking through their role.

- Anne Hathaway, 
The Dark Knight Rises (2012, Christopher Nolan) & Les Misérables (2012, Tom Hooper)

You wouldn't think there would be a connection between Christopher Nolan's superhero action-thriller    The Dark Knight Rises and Tom Hooper's adaptation of the much loved musical tragedy Les Misérables but both focus on a society at a violent crossroads and star Anne Hathaway and characters both worlds apart and at their soul quiet similar.

In The Dark Knight Rises, Hathaway plays Selina Kyle (who is never credited as Catwoman) not just as a feisty minx but as a conflicted young cat burglar who does what she has to survive in the corrupt Gotham City trying to get her hands on a software called Clean Slate in order to wipe her past and pave a future for herself she sides with hulking villain Bane (Tom Hardy) and sells out Bruce Wayne/Batman (Christian Bale). Hathaway infuses Selina with moral ambiguity and a beating heart all whilst wearing an outrageous costume and spiked heels and being able to kick arse with the best of them. She gives the most consistent performance in the entire film.

Les Misérables has a running time of 158 yet Anne Hathaway appears for less than 20 minutes in the role of Fantine, a seamstress turned prostitute by tragic circumstance who is forced to sell her teeth and hair in order to pay for her young daughter to be raised by innkeepers - Hathaway delivers on the role belting out a powerful rendition of I Dreamed a Dream her face covered in dirt and with tears rolling down her cheeks it's the type of visage that hasn't been seen since Maria Falconetti played the titular character in Dreyer's The Passion of Joan of Arc (1928) - despite the your opinion of the film there's no doubting Hathaway's powerhouse performance.

- Allison Janney, Liberal Arts (2012, Josh Radnor) & Margaret (2011, Kenneth Lonergan) 

Allison Janney has had a long career of great roles on TV and film from the West Wing (1999-2006) to Juno (2007) and The Help (2011) she gives each of characters something that we haven't seen of her before and the same can be said of two of her performances last year.

In Josh Radnor's (who also stars in the lead role) love letter to the college years Liberal Arts, Janney plays one of  Jesse's (Radnor) former lecturers on romantic literature - 20 years on she's embittered, drinks to much and is an all-round bitch who has some killer one-liners and practically steals the entire film - even when she has a one nighter with him she is nothing but cruel and mocks and ridicules him it's hard to feel either hatred or pity for her possibly because her character mirrors people we've known ourselves.

In Kenneth Lonergan's long gestating Margaret (see J. Smith-Cameron, above) Janney appears for roughly five minutes as the woman who is hit by a rogue bus driver (Mark Ruffalo) and throws Lisa's (Anna Paquin) life into chaos as she tries to unravel who she was. In her one extended scene Janney plays the woman after she has been hit by the bus covered in blood - she's unsure of where she is or what has happened, and rapidly dying in Lisa's arms Janney gives what can only be called one of the most realistic and unsettling death scenes in cinematic history.

- Brit Marling, Sound of My Voice (2011, Zal Batmanglij)

Brit Marling is one American Independent cinema's most intriguing stars at the moment ever since she wrote and starred in the meditative art-house science fiction drama Another Earth (2011) she has been on everyone's radar. Even better than that is her performance as cult leader Maggie who claims to have returned from the future to lead a group of believers - it sounds like a predictable character but it's anything but and like Another Earth it answers little and asks a lot but that's what makes it so interesting. Marling in particular is enigmatic and mysterious handling the role of Maggie with elegance and warmth, she's imposing with her words and confidence right to that equally head scracher of a finale and begs to ask the question is she really from the future or was it all a lie. Marling also wrote and produced the film.

Honourable Mentions: 
Edith Scob, Holy Motors (2012, Leos Carax)
Sophie Nélisse, Monsieur Lazhar (2011, Phillippe Falradeau)
Shirley MacLaine, Bernie (2011, Richard Linklater)
Collette Wolfe, Young Adult (2011, Jason Reitman)
Helen Hunt, The Sessions (2012, Ben Lewin)
Bryce Dallas Howard, 50/50 (2011, Jonathan Levine) 
Susan Sarandon, Arbitrage (2012, Nicholas Jarecki)
Miranda Tapsell, The Sapphires (2012, Wayne Blair)
Maggie Smith, The Best Exotic Marigold Hotel (2011, John Madden)

Coming Soon: Best Supporting Actor of 2012

Sunday, 25 November 2012

Weekly Update!

Dear Cinephiles:

Apologizes for the delays with reviews but I am happy to announce that Disciple of Cinema will be back up and running with updated reviews (a special thanks to awesome volunteer editors Colleen and Meg) as well as new reviews for films spanning the globe.

Thank you all again for your support

Kind Regards,

Benjamin D. Skevofilax

Thursday, 15 November 2012


Dear Cinephiles:

A big thank you to everyone reading the blog, at present Disciple of Cinema is under construction and will be updated regularly from next week.

Please continue to read and support this blog and send your feedback, ideas and suggestions!

Kind Regards,

Benjamin D. Skevofilax