Kirk Douglas WHEN Kirk Douglas finally shuffled off to the great actor’s Winnebago in the sky last week at the ripe old age of 103 most of the talk about his finest on-screen moments covered predictably familiar ground.
IN THE early 1990s, I bade farewell to my teenage years with the controller of a Sega Mega Drive video game console nestled in my hands, guiding a lightning-quick blue hedgehog around loop-the-loop obstacle courses in search of glittering gold coins.
Sink The Bismarck! LEWIS Gilbert may be best remembered for his sterling work on the Bond movie franchise (You Only Live Twice, The Spy Who Loved Me and Moonraker were all his) and standalone beauties like Alfie, but in the late 50s and early 60s he cut his directorial teeth on a series of war features that were both ground-breaking and thrilling in their own understated way.
WRITER-director Bong Joon-ho mines a mother lode of deliciously cruel intentions in his wickedly entertaining, genre-bending satire, which is certain to convert some of its six Oscar nominations into golden statuettes.
IF BEING trapped inside a neon-lit carnival fun house for almost two hours with the music blaring at full volume sounds like a blast then – deep breath – Birds Of Prey (And The Fantabulous Emancipation Of One Harley Quinn) hits a sweet spot with its anti-heroine's oversized mallet.
HANDLING a firearm is all about the bass. That's the takeaway message of The Rhythm Section, a high-stakes thriller adapted for the screen by author Mark Burnell from his novel about an avenging angel, who criss-crosses the globe to put a righteous bullet between the eyes of her family's killer.