Similar to Marvel’s ‘Thor’, released a couple of months ago, DC’s ‘Green Lantern’ isn’t exactly the easiest comic book property to adapt for the big screen. Having endured since 1940, the character is probably considered, in the shadow of Superman, Batman and Wonder Woman, to be the biggest alternative to DC’s holy trinity. Having successfully rebooted James Bond back in 2006 with the excellent ‘Casino Royale’, it was Martin Campbell’s task to bring the star trekking superhero to life for mainstream audiences. The results were unfortunately mixed at best.
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BY ANDREW MOORE
On May 28th, activists protested across the UK against the dismantling of the National Health Service, and, more broadly, against cuts to public spending, the unfairness of which I don’t have to go into here. 
Picture the re-imagining of an old fashioned samurai film by one of the best directors in Japanese cinema to date. Director Takashi Miike is best known for his hyper violent films ‘Audition’, ‘Three Extremes’ and of course ‘Ichi the Killer’. Constantly behind the camera working on projects, Miike is one of the most famous and productive directors in modern Japanese cinema, yet most of his work goes unseen by audiences outside of East Asia. It’s a crying shame that only his most violent work makes its way across the globe and seeing as we Westerns haven’t heard his name mentioned since 2004, it’s about time he hit it big with his take on the classic samurai feature.
What is a crisis? Perhaps it is a time of great difficulty or a period of instability. The definition of what actually constitutes ‘a crisis’ is open to interpretation and often context-dependent. However, what is certain is that the corruption scandal that has hit FIFA has left this all-powerful organisation in the midst of a major crisis. 
‘Julia’s Eyes’ is the second Spanish horror film to come with the ‘Presented By’ label from Guillermo del Toro, following the huge success of fantastic gothic chiller ‘The Orphanage’, which also starred Belén Rueda. ‘Julia’s Eyes’ is a suspense-thriller with something that many recent horror films don’t have: characters.
‘Kaboom’ is the tenth feature film from fiercely unconventional filmmaker Gregg Araki. Being involved in the New Queer Cinema movement, his films defy categorization just as his characters defy rigid sexual identities. However, the film merely adds credence to the idea that American cinema cannot be arty without being mind-numbingly irritating and completely devoid of meaning.