Mark Rowland
Mark is film, music and business journalist who has written for newspapers, websites and magazines. He spends most of his spare time watching films and complaining about things. There are not many types of film he dislikes. Except bad ones. Unless they’re so bad they’re good.
My girlfriend and I were fighting. We’d been playing a ‘how well do you know…’ game with a group of friends. I had scored higher with my slobby idiot flatmate than I had with my girlfriend.
What had started as a discussion about the game’s validity as a barometer of love quickly descended into an argument about who knew the other better. As we got to the cinema, I took a gamble. A gamble that I lost.
Fans of right wing vigilantism rejoice – Liam Neeson is back to his friend-shooting best in Taken 2, which gets a new trailer this week.
"The Legend Ends" says the marketing for The Dark Knight Rises, so to celebrate the conclusion of Christopher Nolan's superb trilogy, we at LITM are bringing you a whole Batcave's worth of features on the caped crusader and his fight against Gotham's underworld...
It’s very rare occurrence for a screenwriter’s presence to be felt in a film, no matter what the director. That’s because a screenplay is often designed by a committee – a conveyer belt of practically anonymous writers that are hired and fired at will.
The massive losses of John Carter earlier this year loosened the bowels of all the major Hollywood studios. Executives are puzzled as to why their mediocre products are not capturing the hearts and minds of people of all ages across the world.
Hollywood thinks its found the answer, however. Will they pay writers to come up with better stories? Don’t be stupid, that’s not important. Are they putting pressure on multiplexes to improve their overpriced anti-service? Afraid not. The studios are instead buying anything – and we mean anything –even vaguely familiar to the cinema-going public.
